wwMmmiHamm 


8b 


116 

P3 

1883 


PAPE  REPRINTING 


PRECIPES* 


FaperiFriiiiiiig 

RECIPES 


A  Handy  Volume  of   Practical  Reci- 
pes, Concerning  th.e  Every-Day 
Business  of  Stationers,  Print- 
ers, Binders,  and  the 
Kindred  Trades. 


PUiiLlSH'KD     b'/ 

J.  sa-Wtelle;   fokd, 

OFFICE  OF  "THE  STATlDSEIi  ASD  PRISTER." 
CHICAGO. 


Entered  according  to  the  Act  of  Congress,  in 
the  year  1883,  by 

J.    S^WTELX^E    EORU. 

In  the  Office  of  the  Librarian  at  Washington. 


rxIJMPSl:  OF  CONTEXTS. 


This  Volume  has  nearly  Two  Hun- 
dred valuable  Kecipes  for  Stationers, 
Printers,  Bookbinders,  etc.  These 
Recipes  are  thoroughly  practical, 
and  such  as  come  up  in  every  day's 
work.  They  have  been  gathered  from 
many  sources,  and  are  endorsed  by 
the  best  v/orkmen  of  the  United- 
States  and  Europe. 


INDEX  TO  RECIPES. 


WKITIXU  INKS. 


Removing      Writing      Iiilc 

fvoin  Paper 1 

White  Ink g 

I'll iple  Hektograph  Ink 3 

A  Uaik  Red  Injt'lible  Ink. . .    4 

Makintr  rarmine     4 

\  inlet  Ink 5 

Indelible  Ink 5 

To  make  Black  Ink 6 


An   Ink   which    cannot  be 

Erased  fi 

CopvinK'    Ink    to     be    used 
with. .ut  Pressor  Water..     3 

ACanliniU  Ink  7 

A  I'Mitublc  Ink 28 

Iml.-lil.l.-  India  Ink 28 

Co|>viM|j-  Inks    29 

Invisihlo  Writing 68 


PRlNTINft  INKS. 


To  Prevent  Colored  Inks 
from  becoming  Hard 81 

To  keep  Colored  Inks  from 
Skinning    81 

To  Preserve  Colored  Ink 


Improved  Dryer  for  Print- 
ing Ink 66 

To  take  Printer's  Ink  out  of 
Silk 17 

Red  Printing' Ink 68 


How  to   Brighten  Common      iBIaok  Printing  Ink. 

Qualities  of  Colored  Inks.83|Colors  tor  Printing  Ink 7l 

A  Good  Dryer 79  Princip;il  Colors  of  Gold  for 

A  Quick  Dryer 6II    Grinding 4r> 

MAKKI>'G  IXKi*.  ETC. 

Ink  for  Rubber  Stamps   ..   .    "iStencillnk 2 

Marking  Ink   U)  Blue  Marking  Ink  for  White 

Black  Ink  for  Stencils 6      Goods 10 


KKMOVAL  OF  INK  STAINS,  ETC. 


To    Remove     Writing   Ink 

from  Paper 1 

To     Remove     Aniline      Ink 

from  the  Hands 8 

To  take  Ink  Stains  from  the 

Hands 9 

T'l    Remove    Grease    Spots 

from  Paper 13 

How  toliemoveColored  Inks8 1 


Paper  for   taking  out  Ink 

Stains 14 

To     Pemove     Ruling     Ink 

.Stains  from  Fingers 17 

To  Remove  Ink  Snots 19 

To  Remove  Oil  Marks  from 

Paper 20 

To  Remove  Ink  Stains  from 

Mahoijiinj- 20 


CARE  OF  IJOOKS. 

fare  of  Books 78; How  to  Prevent  Mildew  on 

To   nestroy  Book  Worms    .771     Books 78 


GLUES,  PASTES,  MUCILACE,   ETC. 

Solid  Pocket  Glue    20|Postage  Stamp  Mucilage. . .  .26 

To  Test  Glue 2 1  To  keep  Mucilage  Fresh 2R 

Book-Binder's  Glue 22  Mucilage 27 

Cement  for  Glass J2 1  Mucilage  for  Pasteboard 27 


INDEX  TO  RKcirrs. 


Cement  for  Labels 23 

A  Colorlesis  Cement 23 

A  Cement  that   will  Resist 

the  Damp 24 

To  make  Glue  Waterproof  24 
Two  Olue  Receipts    2j 


Ar;ood^a^lel■  29 

A  l-'astewhieli  will  not  !>poil2M 

A  SilverSdlder 30 

An     Article    for   Labelini? 

Bottles « 

For  Making  Dextrine 7(i 


PRINTERS'   VARNISHES. 

A  Varnish  for  Color  Prints.  82  A   Transparent   Paper   Var- 

I'rintei-s*  Varnish H3,    nish »3 

A  Varnish  for  Paper 13{ 

CULOR  ANO  <iOM»  LEAF   PRINTING. 

To    Fix    Bronze    Colors  on       Inking  Surfaces   for  Color 
Glass 771     Work 82 

A   Bronze    or     Changeable      Colors  for  Holding  Bronze  2 
Hue 80  Color^for  Printing    51 

fJold  Leaf  Printing  xo\ 

ELECTROTVriX;. 

To      Prevent      Electrotype     ' Electroty ping  on  China  . .  .42 
Blocks  from  Warping RH  Klectrot.vping  Handwriting35 

WOOD  CUTS  ANI>  ENGRAVING. 

Care  of  Wood  Cuts 75  To    Transf.  r  Kngraving  to 

To    Produce  Engraving   or  Mother  of  Pearl 39 

Tvpes    for    Printing     bv      'An    Improved    Process     of 

Pilot ograi)hv I  .')i    Photo-Engraving 31 

DiflTcrent  kincfs  of   Engrav-       To     Prevent    Warping     in 

ing 3o!     Blocksand  Wood 61 

Care  of  Wood  Type 3K  Stereotyping  Wood  Cuts.... 46 

To    Restore    the     Original     i    Wood  Engravings,  etc — 42 

AVhitcness  of  Copper  plate ,     | ,•  •  ■ 

1»APER. 

Waterproof  Paper 56  To  make  Paper   Fine   and 

How  to  Size   poor  Drawing      '     Waterproof 52 

Paper     5ti  To  Bleach  Sheepskin  Parch- 

Paper  Soft  and  Flexible    ...19l     meiit  White 50 

Incombustible  Writing  and       Carlioii  Paper 54 

Printing  Paper 17  Luminous  Paper 54 

Blue-BlaA  Writing  Paper..  lU  Sizes  ami  Weights  of  Draw- 
Electric  Paper 30:     ing  I'apir  55 

Tinning  Paper  and  Cloth.. ..  77  Bronzed  Paper 55 

Gummed  Paper  from  Cock-      Transpai  ent  DrawingPaper5K 

ling 57  Paper  for  Lables 14 

Qualities  of  Good  Paper. ...  1 4 ,  To  Split  a  Sheet  of  Paper. ...  1 5 
Impermeable  Paper 53  Photo-Lithographic    Trans- 
Aniline  Ink  Paper 1«l     fer  Paper 32 

.MISCELLANEOrs. 

Au  Ink  Restorer 2   To  KestoretheLustre  of  Mo- 

To    Obtain    a    Bright    and  rocco  Leather. ■,••*• 


Lasting  Ked  Edge 

To  Mount  Chromes 53 

Sealing  Wax 69 

Photo  Prints  on  Glass 46 

Enamel  for  Fine  Cards 35 

TO  Bend  a  Rule 67 

TO  Make  a  Corroded  Pen ...  3 1 


Non-era.vible Pencil  Marks.. 4] 
Copy  Drawing  in  Color  . .  ..57 
Black      Paint      for     Black-_ 

boards    3:{ 

To  Preserve  PencilSket'-hes  3? 
Treatment     of    India     Ink 
,    Drawings 9 


INDEX    TO    RECIPES. 


To  Clean  l  iilt  Frames 07 

Cleaning:  New  Ma<'hiner.v      ()7 

Washing  Kdi-mis 59 

A  Hardening  Gloss  for  Iuk?^.S4 

A  MiHleliii^  Marerial m4 

Leaf  Copy  iiiK .84 

V'sual  fSizes  and  Weights  of 

Book  papers 8G 

Usual   Sizes    and     Weights 

Colored  Print  or  Poster  ..H(\ 


Painting  on  KbonizedWood43 

To  Clean  Hleel  Pens 3a 

To  Clean  a  Clianiois  Skin  .12 

Dryerfor  Killing  Inks 8;> 

U.sual  Sizes  and  Weights  of 

News  Printing  Paper 86 

Usual  Sizes  of  Flat  and  Led 

ger  I'aiK-rs 87 

Size  of    Newspaper   Sheets 

:'.nd  Ninnher  of  Columns    8S 


STATiONKU*-'  \VI\3>OWS. 

Stationers'  Windows SsITo  Prevent  Window  Steam- 
Hints  on  Dressing  the  Store         ing 1 

Windows 12  


UILI»IjV«. 

ForCheaplv  (iildingBronze,      iGilding  with  Gold  Leaf 46 

etc ." 11  Gilding  on  Wood 47 

Electro-Gilding  in  Colors  . .  I  it  Gilding  in  Oil 48 

How  Gilding  is  Done 1  :i I 

MKTAI>. 

Coloring  Metals 11 1  An  Alloy  for  Glass  or  Metal  30 

Coppei-lMating  on  Zinc 38  Writings  or  Metals 45 


Laying  Type 76 

Metal  for  Stereotyping 40 

F,ffect  (if  Petroleum  Oil  on 

WoddTviH"  79 

Kemedy  f'orT.vpe  that  Sticks  _ 

in  Distributing 76 


Careof  Wood  Type 38 

ToAscertain  theQuautity  of 
Pbiin    Type  Required   for 

Newspapers 75 

Repiiinng    Battered     Wood 
Type 82 


PRINTERS'  ROLLERS. 

Keeping  Rollers  when  not  Treatment  of  Old  Rollers.  .61 
in  Use 62lA  Recipe  for  Printer's  Kol- 

Preservative      of      Rollers  lers 64 

when  not  in  Use 62  When  to  Wash  Rollers 66 

Pollers  in  Summer  Time... 63  Oils  for  LubrieatinBT  Roller 

To  Keep  Green  Mould  from  Moulds 62 

Rollers 63 1 


PRIXTIN«  METIIOIM 

Gloss  Printing 49|On  "Casting  Up" 74 

Color  i  for  Printing  51  To  Prevent  Sett-off 61 

Off-Setting   83  Temperature  of  the  Preii- 

Priming  Knvelopes    6(il     room 9i 


A  Strong  I.yo.. 


LVK. 

79 [.\  Cheap  I,y«   77 


Paper  and  Printing  Recipes. 


How  TO  Remove  Common  Writing  Ink 
From  Paper  Without  Injury 
•     to  the  Print. 

Common  writing  ink  may  be  removed 
from  paper  without  injury  to  the  print  by 
oxaUc  acid  and  lime,  carefully  washing  it 
in  water  before  restoring  it   to  the  volume. 

To  Render  Pencil  Notes  Indelible. 

Pencil  notes  found  in  a  book,  or  placed 
there  as  annotations,  may  be  rendered  in- 
delible by  washing  them  with  a  soft  sponge 
dipped  in  warm  vellum   size  or  milk. 

To  Remove  Grease  Spots  from  Paper. 

Grease  may  be  removed  from  paper  in 
the  following  manner:  Warm  gradually 
the  parts  containing  the  grease,  and  ex- 
tract as  much  as  possible  of  it  by  applying 
blotting-paper.  Apply  to  the  warm  paper 
with  a  soft,  clean  brush,  some  clear  essential 
oil  of  turpentine  that  has  been  boiled,  and 
then  complete  the  operation  by  rubbing 
over  a  little  rectified  spirits  of  wine. 


2  PAPER   AND    PFvINTING   RECIPES. 

How  TO  Detect  Arsenic  in  Paper. 

A  simple  method  for  detecting  arsenic  in 
paper,  cards,  etc.,  is  described  as  follows : 
—  Immerse  the  suspected  paper  in  strong 
ammonia  on  a  white  plate  or  saucer ;  if  the 
ammonia  becomes  blue,  the  presence  of 
salt  of  copper  is  proved ;  then  drop  a  crys- 
tal of  nitrate  of  silver  into  the  blue  liquid, 
and,  if  any  arsenic  be  present,  the  crystal 
will  become  coated  with  yellow  arseniate  of 
silver,  which  will  disappear  on  stirring. 

An  Ink  Kestorer. 

The  j)rocess  consists  in  moisteniLg  the 
paper  with  water  and  then  passing  over 
the  lines  in  writing  a  brush  which  has  been 
wet  in  a  solution  of  sulphide  of  ammonia. 
The  writing  will  immediately  appear  quite 
dark  in  color,  and  this  color,  in  the  case  of 
parchment,  it  will  preserve. 

Colors  for  Holding  Bronze. 

Red  and  green  inks  are  good  colors  for 
holding  bronze,  when  you  are  not  working 
with  size  or  varnish 

Stencil  Ink. 
A  good  and  cheap  stencil  ink  in  cakes  is 
said  to  be  obtained  by  mixing  lampblack 
with  fine  clay,  a  little  gum  arabic  or  dex- 
trine, and  enough  water  to  bring  the 
whole  to  a  satisfactory  consistence. 


PAPER  AND   PRINTING   RECIPES.  3 

Copying  Ink  to  be  Used  Without  Press 
OR  Water. 

Well  mix  three  joints  of  jet-black  writing 
ink  and  one  pint  of  glycerine.  This,  if 
used  on  glazed  pajjer,  will  not  dry  for 
hours,  and  will  yield  one  or  two  fair,  neat, 
dry  copies,  by  simple  pressure  of  the  hand, 
in  any  good  letter  copy-book.  The  writing 
should  not  be  excessively  fine,  nor  the 
strokes  uneven  or  hea\'y.  To  present  "set- 
ting oflf,"  the  leaves  after  copying  should 
be  removed  by  blotting-paper.  The  copies 
and  the  originals  are  neater  than  where 
water  is  iised. 

White  Ink. 

There  is  really  no  such  article  as  "white 
ink."  A  true  ink  is  a  solution  of  some 
substance  or  combination  of  substances  in 
liquid.  Colored  liqtiids,  however,  may  be 
prepared  with  various  substances  not  solu- 
ble in  the  liquids  available  for  writing  flu- 
ids. A  "wliite  ink"  may  be  made  by  rub- 
bing the  finest  zinc  white,  or  white  lead, 
with  a  dilute  solution  of  gum  arabic.  It 
must  be  stirred  up  whenever  the  pen  or 
brush  is  dipped  into  it. 

Purple  Hektograph  Ink. 

To  make  the  purple  hektograph  ink : — 
Dissolve  1  part  of  methyl-violet  in  8  parts 
of    water,   and   add   1   part   of    glycerine. 


PAPER   AND    PRINTING   RECIPES, 


•Gently  warm  the  whole  for  about  an  hour, 
then  allow  to  cool  ami  add  I4  part  alcohol. 
It  is  said,  on  good  authority,  that  the  alco- 
hol may  be  advantageously  omitted,  and 
that  the  following  proijortions  will  give 
even  better  results  than  the  above,  viz: 
Methyl- violet,  1  part;  water,  7  parts;  gly- 
cerine, 2  parts.  This  formula,  it  is  said, 
produces  an  ink  which  is  less  liable  to  sink 
into  the  paper. 

A  Dark  Red  Indelible  Ink. 

An  indelible  red    ink  for  marking  linen 
may  be  made  from  the  following  formula : 
Prepare  three  separate  solutions : 

I.  Sodium  carbonate 8  drs. 

Acacia 3    " 

Water 12    " 

With  this  moisten  the  spot  to  be  marked, 
and  dry  and  smooth  >vith  a  hot  flat  iron. 

II.  Platinum   bichloride 1  dr. 

Water 2  oz. 

Trace  the  letters  with  this  fluid,  permit 
to  dry,  and  finally  apply  solution. 

in.     Stannous  chloride 1  dr. 

Water,  distilled i  " 

To  Make  a  Carmine. 

Take  9  ozs.  carbonate  of  soda  and  dia- 
Bolve  in  27  quarts  of  rain-water,  to  which 
add  8  ozs.  of  citric   acid.     When    boiling. 


PAPEK   AND    PRINTINCr   RECIPES. 


acid  li.j  fbs.  of  best  cochineal,  ground  fine, 
iuul  boil  for  one  :uid  a  quarter  hours.  Fil- 
ter and  set  the  liquor  aside  until  cool. 
Then  boil  the  clear  liquor  for  ten  minutes 
witli  9I2  ozs.  of  alum.  Draw  oflf,  and  allow 
the  mixture  to  settle  for  two  or  three  days. 
Again  draw  off  the  liquor,  and  wash  the 
sediment  with  clear,  cold,  soft  water,  and 
then  dry  the  sedimen'-.. 

Violet  Ink. 

To  make  violet  ink :—  Put  8  ozs.  logvvood 
into  3  pints  of  water,  and  boil  until  half 
the  water  has  gone  off  in  steam.  The  rest 
will  be  good  ink,  if  strained,  and  supple- 
rae}ited  by  1^2  ozs.  gum,  and  2I2  ozs.  alum. 
Ciil(<ride  of  tin  may  be  usedinstead  of  alum. 
Another  jjlan  is  to  mix,  in  hot  water,  1  oz. 
cudbear  (a  dye  obtained  from  lichen  fer- 
mented in  urine)  and  1^  ozs.  pearlash; 
let  it  stand  12  hours;  strain ;  add  3  ozs.  gum 
»nd  I  oz.  sijirit. 

Indelible  Ink. 

A  cheap  indelible  ink  can  bn  made  by 
the  following  recipe :— Dissolve  in  boiling 
water  20  parts  of  potassa,  10  parts  of  fine- 
cut  leather  cliips,  and  5  parts  of  flowers  of 
sulphur  are  added,  and  the  w'lole  heated  in 
an  iron  kettle  until  it  is  evaporated  to  dry- 
ne.ss.     Then  the  heat  is  continued  until  the 


6  PAPEK   AND    PRINTING   RECIPES. 

mass  becomes  soft,  care  being  taken  that 
it  does  not  ignite.  The  pot  is  now  removed 
from  the  fire,  allowed  to  cool,  water  is  add- 
ed, the  solution  strained  and  preserved  iu 
bottles.  This  ink  will  flow  readily  from 
the  pen. 

How  TO  Remove  Ink-Stains  pbom  the 
Hands. 

Ripe  tomatoes  will  remove  ink  or  other 
stains  from  the  hands. 

Treatment  of  India  Ink  Drawings. 

An  easy  method  for  rendeiing  drawings 
in  Indian  ink  insensible  to  water,  and  thus 
preventing  the  ink  from  running  when 
the  drawing  has  to  be  colored  and  the 
lines  are  very  thick :—  To  the  water  in 
which  the  ink  has  to  be  rubbed,  is  added  a 
weak  solution  of  bichromate  of  potash  of 
about  2  per  cent.  The  animal  gum  con- 
tained in  the  Indian  ink  combines  with  the 
bichrome,  and  becomes  insoluble  under  iiie 
influence  of  light. 

Black  Ink. 

To  make  a  black  ink  for  fountain  pens,  add 
1  part  of  nigrosein  to  50  i^arts  of  hot  water ; 
agitate  well  at  intervals;  let  it  cool,  and  af- 
ter twelve  hours  filter  through  a  fine  linen 
cloth,  and  add  a  few  drops  of  carbolic  acid 


PAPER   AND   PRINTING    UECIPKS.  7 

to  I'iich  piut.  This  may  be  diluted  with 
three  times  its  vohmio  of  water,  and  still 
form  a  good  ink  for  ordinary   jjens. 

Ink  for  Rubber  Stamps. 

Aniline  (red  violetj,  IG  parts;  boiling 
distilled  water,  80  parts ;  glycerine,  7  parts ; 
molasses,  3  parts. 

Cardinal  Ink. 

Improved  cardinal  ink  for  draughtsmen 
is  made  as  follows : — Triturate  1  gram  of 
pure  carmine  with  15  grams  of  acetate  am- 
monia solution  and  an  equal  quantity  of 
distilled  water,  in  a  porcelain  mortar,  and 
allow  the  whole  to  stand  for  some  time. 
In  this  way  a  portion  of  the  alumina  which 
is  combined  with  the  carmine  dye  is  taken 
ujj  by  the  acetate  acid  of  the  ammonia  salt 
and  separates  as  precipitate,  while  the  i)ure 
jDigment  of  the  cochineal  remains  dissolved 
in  the  half  saturated  ammonia.  It  is  now 
filtered  and  a  few  drops  of  pure  white  sugar 
syrup  added  to  thicken  it.  In  this  way  an 
excellent  red  drawing  ink  is  obtained, 
which  holds  its  color  a  long  time.  A  solu- 
tion of  gum  arable  cannot  be  employed  to 
thicken  this  ink,  as  it  still  contains  some 
acetic  acid,  which  would  coagulate  the  bas- 
sorine,  one  of  the  natural  constituents  of 
gum   arable. 


8  TAPER    AND    l'rJ\Tl>'<i    RECIPES. 

Am  Article  for  Labeling  Bottles. 

A  very  useful  article  for  labeling  bottles 
containing  substances  which  •would  destroy 
ordinary  labels  consists  of  a  mixture  of 
ammonium  fluoride,  barium  suljihate  and 
sulphuric  acid,  the  proportions  for  its  man- 
ufacture being :  barium  sulphate,  3  parts ; 
ammonium  fluoride,  1  part;  and  sulphuric 
acid  enough  to  decompose  the  fluoride  and 
make  a  mixture  of  semi-fluid  consistency. 
This  mixture,  when  brought  in  contact  with 
a  glass  surface  with  a  common  pen,  at  once 
etches  a  rough  surface  on  tlie  parts  it  comes 
in  contact  with.  The  philosophy  of  the 
action  is  the  decomposition  of  the  ammoni- 
um fluoride  by  the  acid,  which  attacks  the 
glass;  the  barium  sulphate  is  inert,  and  is 
simply  used  to  prevent  the  spreading  of 
the  markings.  The  mixture  must  be  kept 
in  bottles  coated  on  the  inside  with  paraf- 
fine  or  wax. 

How  TO  Remove  Aniline  Ink  from  the 
Hands. 

Aniline  inks  are  now  in  common  use,  es- 
pecially in  connection  with  the  various 
gelatiiie  tablets  for  multiplying  copies  of 
written  matter.  Upon  tlie  hands  it  makes 
annoying  stains,  difficult  of  removal  by 
water  or  acids.  They  maybe  easily  waslied 
out  by  using  a  mixture  of  alcohol  3  parts, 
and  glycerine  1  part. 


PAPER   AND    PRINTING   RECIPES. 


An  INK  WHICH  Oannot  be  Erased. 

An  ink  -whieli  cannot  be  erased  from  pa- 
per or  parchment  l)y  any  known  chemical 
solvent,  and  will  reta;iu  its  original  color  in- 
definitely, and  last  as  long  as  the  material 
on  which  it  is  wiitten,  is  made  as  follows : 
— Make  a  solution  of  shellac  in  borax,  to 
which  add  sufficient  lampblack  to  give  the 
requisite  depth  of  color. 

To  Make  Black  Ink. 

Lactate  of  iron,  15  grains;  powdered 
gum  arable,  75  grains;  i)owdered  sugar, 
half  a  drachm;  gallic  acid,  9  grains;  hot 
"Water,  .3  ounces.  (Lactate  of  iron  is  a  nov- 
elty in  ink- making,  and  the  above  formula 
may  possibly  suit  those  who  have  a  taste 
for  WTitiug  with  mucilaginous  matters  in- 
stead of  limpid  solutions.) 

Black  Ink  for  Stencils. 

The  following  is  commended  for  the 
preparation  of  a  black  ink  or  paste  for  use 
with  stencils : — Boneblack,  1  lb. ;  molasses, 
8  ozs. ;  sulphuric  acid,  4  ozs. ;  dextrine, 
2  ozs. ;  water  sufficient.  Mix  the  acid  with 
about  two  ounces  of  water,  and  add  it  to 
the  other  ingredients,  previously  mixed  to- 
gether. "When  the  effervescence  has  sub- 
sided, enough  water  is  to  be  added  to  form 
a  paste  of  convenient  consistence. 


]0         PAPER   AND    PRINTING   RECIPES. 

Marking  Ink. 

Put  two  pennyworths'  lunar  caustic  (ni- 
trate of  silver)  into  half  a  tablespoonful  of 
gin,  and  in  a  day  or  two  the  ink  is  fit  for 
use.  The  linen  to  be  marked  must  first  be 
wet  with  a  strong  solution  of  common  soda, 
and  be  thoroughly  dried  before  the  ink  is 
used  upon  it.  The  color  will  be  faint  at 
first,  but  by  exposure  to  the  sun  or  the  fire 
it  will  become  quite  black  and  very  durable. 

Blue  Masking  Ink  for  White  Goods. 

Crystallized  nitrate  of  silver,  dram ....    1 

"Water  of  ammonia,  drams 3 

Crystallized  carbonate  of  soda,  dram . .   1 

Powdered  gum  arabic,  drams 1  ^a 

Sulphate  of  copper,  grains 30 

Distilled  water,  drams 4 

Dissolve  the  silver  salt  in  the  ammonia; 
dissolve  the  carbonate  of  soda,  gum  arabic, 
and  sulphate  of  copper  in  the  distilled 
water,  and  mix  the  two  solutions  together. 

Blue-Black  Writing  Paper. 

Take  of  Aleppo  galls,  bruised,  9  ozs. ; 
bruised  cloves,  2  drachms ;  cold  water,  80 
ozs.;  sulphate  of  iron,  3  ozs.;  sulphuric 
acid,  70  minims;  indigo-paste, 4  drachms. 
Place  the  galls  and  the  cloves  in  a  gallon 
bottle,  pour  upon  them  the  water,  and  let 
them  macerate,  with  frequent  agitation, 
for  a  fortnight.     Press,  and   filter  through 


PAPKR   AND    I'ltlNTINU   KECIPKK.  1  I 


paper  iuto  another  gallon  bottle.  Nest, 
])ut  in  tlie  sulphate  of  iron,  clissolvn  it,  a  J  1 
tlie  acid,  and  slmke  the  whole  briskly. 
Lastly,  add  the  indigo-paste,  niix  well,  and 
filter  again  through  paper.  Keeji  the  ink 
in  well-corked  bottles. 

Coloring  Metals. 

^letals  may  be  rapidly  colored  by  cover- 
ing their  surfaces  with  a  tliin  layer  of  sul- 
phuric acid.  According  to  the  thickness 
of  the  layer  and  theduralnlity  of  its  action, 
there  may  be  obtained  tints  of  gold,  cop- 
per, carmine,  chestnut-brown,  clear  and  an- 
iline blue  and  reddish-white.  These  tints 
are  all  brilliant,  and  if  care  be  taken  to 
scour  the  metallic  objects  before  treating 
them  with  the  acid,  the  color  will  suf- 
fer nothing  from  the  poli.shing. 

For  Cheaply  Gilding  Bronzes,  Etc. 

A  mixture  for  cheaply  gilding  bronzes, 
gas-littings,etc. :— Two  and  one-half  pounds 
cyanide  of  potash,  five  ounces  carbonate  of 
potash  and  two  ounces  cyanate  of  potass, 
the  whole  diluted  in  five  pints  of  water, 
containing  in  solution  one-fourth  ounce 
chloride  of  gold.  The  mixture  must  be 
used  at  boiling  heat,  and,  after  it  has  been 
applied,  the  gilt  surface  must  be  varnished 
over. 


12        PAPER   AND    PRINTING   RECIPES. 


How  TO  Clean  a  Ohamois   Skin. 

When  a  chamois  skiu  gets  into  ii  dirty 
condition,  rub  ijlenty  of  soft  soap  into  it, 
and  allow  it  to  soak  for  a  conple  of  liours 
in  a  weak  solution  of  soda  and  water.  Then 
rub  it  until  it  aj^pears  quite  clean.  Now 
take  a  weak  solution  of  warm  water,  soda 
and  yellow  soap,  and  rinse  the  leather  in 
this  liquor,  afterward  wringing  it  in  a  rough 
towel,  and  drying  it  as  quickly  as  possible. 
Do  not  use  water  alone,  as  that  would  hard- 
en the  leather  and  make  it  useless.  When 
dry  brush  it  well  and  pull  it  about ;  the  re- 
sult will  be  that  the  leather  will  become  al- 
most as  soft  as  fine  silk,  and  will  be,  to  all 
intents  and  purposes,  far  superior  to  most 
new  leathers. 

Hints  on  Dressing  the  Store  Windows. 

In  dressing  store  windows  avoid  as  far  as 
possible  i^lacing  cards  or  note  sheets  flat ; 
endeavor  in  some  manner  to  have  them 
erect,  leaning  against  a  box  or  placed 
ujion  a  small  easel.  Neither  crowd  your 
window  nor  place  things  in  exact  rows. 
Give  each  article  plenty  of  space  in  your 
window ;  then  you  do  not  need  so  much  to 
fill  up,  and  on  the  following  week  put  in 
the  pieces  you  might  have  displayed  the 
lircvious  week  had  you  crowded  your  win- 
dow. 


PAPER    AND    PBINTING   RECIPES.        13 

A  Varntsh  For  Papee. 

A  varnish  for  paper  which  pioduces  no 
stains,  may  be  prepared  as  follows:— Clear 
damar  resin  is  covered  in  a  flask,  with  four 
and  a  half  to  six  times  its  weight  of  acetone, 
and  allowed  to  stand  for  fourteen  da;ys  at  a 
moderate  temperature,  after  which  the 
clear  solution  is  poured  oflf.  Three  parts 
of  this  solution  are  mixed  with  four  parts 
of  thick  coUodian,  and  the  mixture  allowed 
to  become  clear  by  standing.  It  is  applied 
with  a  soft  hair  brush  in  vertical  strokes. 
At  first  the  coating  looks  like  a  thin,  white 
film,  but  on  complete  drying  it  becomes 
transparent  and  shining.  It  should  be 
laid  on  two  or  three  times.  It  retains  its 
elasticity  under  all  circumstances,  and  re- 
mains glossy  in  every  kind  of  weather. 

To  Eemove  Geease  Spots  From  Paper. 

The  following  is  a  recipe  for  removing 
grease  spots  from  paper :— Scrape  finely 
some  pipe  clay  on  the  sheet  of  paper  which 

to  be  cleaned.  Let  it  completely  cover 
it,  then  lay  a  thin  piece  of  paper  over  it, 
and  pass  a  heated  iron  on  it  for  a  few  sec- 
onds. Then  take  a  perfectly  clean  piece 
of  India  rubber  and  rub  off  the  pipe  clay. 
In  most  cases  one  application  will  be  found 
sufficient,  but  if  it  is  not,  repeat  it. 


14       PAPEB   AND   PRINTING   RECIPES. 


Paper  for  Taking  Out   Ink  Stains. 

Tliick  blotting  paper  is  soaked  iu  a  con- 
centrated solution  of  oxalic  acid  and  dried. 
Laid  immediately  on  a  blot  it  takes  it  out 
without  leaving  a  trace  behind. 

Qualities  of  Good  Paper. 

good  paper  ought  to  feel  tight  and 
healthy,  not  clammy  and  soft,  as  if  a  little 
muscle  were  required.  Paper-makers  say 
that  a  good  paper  has  "plenty  of  guts"  in 
it,  a  forcible  if  not  extremely  polite  expres- 
sion. In  buying  a  good  paper  always  look 
out  for  the  "guts."  Clay  gives  paper  a  soft 
feel.  Perhaps  the  first  qualification  about 
a  good  writing  paper  is  its  cleanliness  and 
freedom  from  sjoecks  of  all  kinds.  A  dirty 
paper  is  never  salable  except  to  dirty  peo- 
ple and  firms  who  don't  mind  using  dirty 
materials. 

Paste  Tor  Labels. 

For  adhesive  labels  dissolve  1  ^2  ozs.  com- 
mon glue,  which  has  laid  a  day  in  cold  wa- 
ter, with  some  candy  sugar,  and  %  oz.  gum 
arabic,  in  6  ounces  hot  water,  stiiTing  con- 
stantly till  the  whole  is  homogeneous.  If 
this  paste  is  applied  to  labels  -with  a  brush 
and  allowed  to  dry,  they  will  then  be  ready 
for  use  by  merely  moistening  with  the 
tongue. 


PAPER    \SU    I'KIXTIXG   UECIPES  15 

How  TO  Produce  Engravings  or  Types 
FOR  Printing  by  Photography 

Thf  i)r()ce.ss  of  ijrodiiciiig  fu-mviugs  or 
types  for  printing  by  photography  consists 
first,  in  making  a  sliarp  negative  of  the 
picture  to  be  eugi-ixveil;  second,  in  theijho- 
tographic  jninting  of  a  sheet  of  sensitized 
gehitine  by  me;'.us  of  the  negative ;  third, 
the  development  of  the  printed  lines  upon 
the  surface  of  the  gelatine  by  water;  and 
fourth,  the  casting  of  a  copy  of  the  devel- 
oped gelatine  sheet  in  metal,  th  •  metal  so 
produced  being  used  for  printing  on  the 
press  in  the  ordinary  manner.  All  this  is 
very  simple,  and  in  the  hands  of  experi- 
enced and  skilled  persons  very  beautiful 
examples  of  printing  plates,  having  all  the 
fineness  and  artistic  eft'ect  of  superior  hand 
engraved  work,  may  l)e  produced. 

How  to  Split  a  Sheet  of  Paper. 

Get  a  piece  of  plate  glass  and  place  on  it 
a  sheet  of  paper ;  then  let  the  paper  be  thor- 
oughly soaked.  "With  care  and  a  little  dex- 
terity the  sheet  can  be  split  by  the  top  sur- 
face being  removed.  But  the  best  plan  is 
to  paste  a  piece  of  cloth  or  strong  paper  on 
each  side  of  the  sheet  to  be  split.  When 
dry.  violently  and  without  hesitation  pull 
the  two  pieces  asunder,  when  part  of  the 
sheet  will  be  found  to  have  adhered  to  one 
and  part  to  the  other.     Soften  the  paste  iu 


16        PAPEK    AND   PBINTING   KKCIPES. 

water  and  the  pieces  can  be  easily  removed 
from  the  cloth.  The  process  is  generally 
demonstrated  as  a  matter  of  curiosity,  yet 
it  can  be  utilized  in  various  ways.  If  we 
want  to  paste  in  a  scrap  book  a  newspaper 
article  printed  on  both  sides  of  the  paper, 
and  possess  only  one  copy,  it  is  very  con- 
venient to  know  how  to  detach  the  one 
side  from  the  other.  The  paper,  when 
split,  as  may  be  imagined,  is  more  trans- 
parent than  it  was  before  being  subjected 
to  the  operation,  and  the  printing  ink  is 
somewhat  duller ;  otherwise  the  two  pieces 
present  the  appearance  of  the  original  if 
again  brought  together. 

Aniline  Ink  Paper. 

To  make  aniline  ink  paper  thick  filter- 
ing paper  is  soaked  in  a  very  concentrated 
solution  of  an  aniline  dye  and  allowed  to 
dry ;  it  may  then  be  soaked  again  to  make 
it  absorb  more  color.  With  a  little  atten- 
tion it  will  not  be  difficult  to  i^repare  the 
paper  so  as  to  have  a  known  quantity  of 
coloring  matter  in  a  square  of  a  given  size. 
Paper  prepared  as  above  is  very  conven- 
ient to  have  when  traveling;  when  one 
wishes  to  write,  it  is  only  necessary  to  tear 
off  a  small  piece  of  the  paper  and  let  it  soak 
ill  a  little  water.  Aniline  blue  paper  may 
also  be  employed  conveniently  for  bluing 
in  washing. 


I'APKK    ANIJ    IMilNTlXTr    JMXH'KS. 


To    Make   Incombustible  Writing   and 
Printing  Paper. 

To  make  inconibnstibk'  writing  aiidimut- 
iug  jjaper,  asbestos  of  the  best  quality  is 
treated  with  potassium  permanganate  and 
then  with  sulphuric  acid.  About  ninety- 
five  per  cent  of  such  aslx'stos  is  mixed  with 
five  i)er  cent  of  wood  pulp  in  water  con- 
taining borax  and  glue.  A  fire  proof  ink 
is  made  of  jjlatinous  chloride  and  oil  of  lav- 
ender, mixed  for  writing  with  India  ink 
an<l  gum,  and  for  printing  with  lamplilack 
and  varnish. 

How    TO    take    Printers'   Ink  out   of 
Silk. 

To  take  printer's  ink  out  of  silk  without 
damaging  the  goods: — Put  the  stained 
parts  of  the  fabric  into  a  quantity  of  ben- 
zine, then  use  a  fine,  rather  stiff"  brush, 
with  fresh  benzine.  Dry  and  rub  bright 
with  warm  water  and  curd  soap.  The  ben- 
zine will  not  injure  the  fabric  or  dye. 

To   Remove   Ruling   Ink   Stains    From 

PlNGERS. 
Wash  in  chloride  of  lime  and  then  rinse 
hands  in  a  spoonful  of  alcohol.  The  opera- 
tion should  be  done  quickly,  as  the  lime,  of 
course,  eits  into  the  flesh.  The  alcohol 
renders  the  hands  smooth  again,  and  takes 
away  the  disagreeable  odor. 


IS        PAPEK    AM)    PRINTING    RECIPES. 


To   Prevent  "Window  Steaming. 

A  remeJy  iigaiust  window  .steaming  is 
coaiposed  of  methylated  spirit  at  about  6;> 
per  cent  ovor-proof,  glycerine  and  any  of 
the  essential  oils,  and  in  some  cases  amber 
dissolved  in  spirit,  according  to  the  state  of 
the  atmosphere. 

About  eight  ounces  of  glycerine  to  about 
one  gallon  of  si^irit,  the  quantity  of  essen- 
tial oil  depending  upon  the  nature  of  the 
same;  but  it  will  be  understood  that  these 
proportions  may  be  varied.  Instead  of 
methylated  siDirit,  spirit  of  wine  may  be 
employed,  but  methylated  spirit  is  prefera- 
ble as  being  the  cheaper.  In  combining 
the  above-named  ingredients,  the  essential 
is  destroytd  by  being  niixod  with  the  meth- 
ylated spirit  or  with  the  spirit  of  wine,  and 
the  liquid  is  then  incorporated  with  the 
glycerine.  The  combination  is  affected  at 
the  ordinary'  temperature,  the  employment 
of  heat  being  unnecessary.  This  liquid 
composition  is  applied  to  the  internal  sur- 
face of  the  pane  of  glass  or  the  lens,  either 
by  rubbing  it  on  with  felt  or  with  cotton- 
waste,  or  by  spreading  it  thereon  with  a 
camel's  hair  brush,  or  with  other  suitable 
a[)pliances,  and  thus  the  dull  and  dimmed 
appearance  of  glass  usually  produced  by 
condensation — known  as  steaming  or  sweat- 
ing--is  avoided. 


PAPEll    AM)    IM'.INTINii    liKCiPKM.  10 


To  Eendee  Paper  Soft  and  Flexible. 

To  render  puix^r  soft  aud  Hexihle,  heat  it 
with  a  solution  of  acetate  of  soda,  or  of 
2>ota.sh  dissolved  in  four  to  ten  times  its 
weight  of  water.  For  permanent  iiai)er,  to 
twenty  part.s  of  this  solution  one  part  of 
starch  or  dextrine  is  added.  If  the  paper 
has  to  be  made  transjiarent,  a  little  of  a 
solution  containing  one  i)art  soluble  glass 
in  four  to  eight  parts  water  is  added.  To 
render  the  paper  fit  for  co^jying  \vithout 
being  made  wet,  to  the  acetate  solution 
chromic  acid  or  feiTO-cyanide  of  potassium 
is  added. 

To  Remove  Ink  Spots. 

First  moisten  the  blots  with  a  strong  so- 
lution of  oxalic  acid,  then  with  a  clear  sat- 
urated aqueous  solution  of  fresh  chloride 
of  lime — bleaching  i^owder.  Absorb  excess 
of  the  liquids  from  the  paper  a.s  quickly  as 
possible  with  a  clean  piece  of  blotting  pa- 
per. Repeat  the  treatment  if  necessary, 
and  dry  thoroughly  between  blotting  pads 
under  pressure. 

Electro  Gildnq  in  Colors. 

Electro-gilding  in  various  colors  may  be 
readily  effected  by  adding  to  the  gold  batJi 
small  quantities  of  copper  or  silver  solution 
until  the  desired  tint  is  obtained.  A  little 
silver   solution    udded   to  the    gilding  batli 


20        PAPFJl    AND    PRINTING    RECIPES. 

causes  the  deposit  to  assume  a  pale  yellow 
tiat.  By  increasing  the  dose  of  silver  solu- 
tion a  pale  greenish  tint  is  obtained.  Cop- 
per solution  added  to  t!ue  gold  bath  yields 
a  warm,  red  gold  tint.  It  is  best  to  use  a 
current  of  rather  high  tension,  such  as  that 
of  the  Bunsen  battery,  for  depositing  the 
alloy  of  gold  and  copper. 

To  Remove  Oil  Marks  Prom  Paper. 

Oil  marlis  on  wall  p:iper,  where  careless 
persons  have  rested  their  heads,  may  be  re- 
moved by  making  a  paste  of  cold  water  and 
pipe  clay  or  fuller's  earth,  and  laying  it  on 
the  stains  wdthout  rubbing  it  in ;  leave  it 
on  all  night,  and  in  tiie  morning  it  can  be 
brushed  off,  and  the  spot,  unless  it  be  a 
very  old  one,  Avill  have  disappeared.  If 
old,  renew  the  application. 

To  Eemove  Ink  Stains  From  Mahogany. 

To  remove  ink  stains  from  mahogany  ap- 
ply carefully  with  a  feather  a  mixture  of  a 
teaspoonful  of  water  and  a  few  drops  of 
nitre,  and  rub    quickly  witli  ii  damp  ctoth. 

Solid  Pocket  G-lue. 

Is  made  from  600  grams  <>f  glue  and  250 
grams  of  sugar.  The  glue  is  at  first  com- 
pletely dissolved  by  boiling  with  water ;  the 
sugar  is  then  introduced  into  the  hot  solu- 
tion, and  the   mixture  evaporated  until  it 


PAPKK    AND    1' HINTING    UECIPES.         21 

becomes  solid  on  cooling.  The  hard  mass 
dissolves  very  rapidly  in  lukewarm  water, 
and  then  gives  a  j^aste  which  is  (specially 
adapted  for  paper. 

To  Test  Glue. 

An  article  of  glue  which  will  stand  damp 
atmosphere  is  a  desideratum  among  me- 
chanics.  Few  know  how  to  judge  of  qual- 
ity except  by  the  jjrice  they  i)ay  for  it.  But 
price  is  no  criterion  ;  neither  is  color,  upon 
which  so  many  dejoend.  Its  adhesive  and 
lasting  properties  depend  more  upon  the 
material  from  which  it  is  made,  and  the 
method  of  securing  purity  in  tlic  raw  mate- 
rial, for  if  that  is  inferior  and  not  well 
cleansed,  the  product  will  have  to  be  un- 
duly charged  with  alum  or  some  other  anti- 
septic, to  make  it  keep  during  the  drying 
process.  Weathered  glue  is  that  which 
has  experienced  unfavorable  weather  while 
drying,  at  which  time  it  is  rather  a  delicate 
substance.  To  resist  damp  atmosphere 
well,  it  should  contain  as  little  saline  mat- 
ter as  possible.  When  buying  th*^  article, 
venture  to  apply  your  tongue  to  it,  and  if 
it  tastes  salt  or  acid,  reject  it  for  anything 
but  the  commonest  purpose.  The  same 
operatioh  will  also  bring  out  any  bad  smell 
the  glue  may  have.  These  are  simjjle  and 
ready  tests  and  are  the  ones  usually  adopted 
by  dealers  and  large  consumers.      Another 


PAPEK    AND    PRINTING    HECIPES. 


good  test  is  to  soak  a  weighed  portion  of 
di-y  glue  in  cold  water  for  twenty- four 
liours,  then  dry  again  and  weigh.  The 
nearer  it  approaches  to  its  original  weight 
the  better  glue  it  is,  thereby  showing  its 
decree  of  insolubility. 

Book-Binders'  Glue. 

To  prevent  book-binders  glue  from  turn- 
ing sour,  add  enough  of  the  raw  salicylic 
acid  in  boiling  water  to  keep  it  soluble.  It  is 
also  commended  never  to  keep  glue  in  open 
pots,  but  in  cylindrical  shaped  vessels  that 
admit  of  tight  corking. 

How  TO  Make  a  Cement  for  Glass  That 
Will  Eesist  Acids. 

To  make  a  cement  for  glass  that  will  re- 
sist acids,  the  following  has  been  recom- 
mended:— Take  10 12  pounds  of  pulverized 
stone  and  glass,  and  mix  with  it  434  jjounds 
of  sulphur.  Subject  the  mixtiire  to  such  a 
moderate  degree  of  heat  that  the  sulphur 
melts.  Stir  until  the  whole  becomes  homo- 
geneous, and  then  run  it  into  molds.  When 
required  for  use  it  is  to  be  heated  to  248°, 
degrees,  at  wliich  t(Mni)erature  it  melts,  and 
may  be  employed  in  the  usiial  manner. 
This,  it  is  said,  resists  the  action  of  acids, 
never  changes  in  the  air,  and  is  not  affected 
in  boiling  water.  At  280°  it  is  said  to  be 
as  hard  as  ^itone. 


PAPKU    AN'l)     I'HiNTINti     ItKCl  I'F.S. 


Oement  foe  Labels. 

1.  Macerat(>  ">  paxts  of  glue  iu  1«  jnuts  of 
wator.  Boil  and  add  It  jjarts  rock  (Mndv 
and  5  parts  gixm  arable.  2.  Mix  dextrine 
with  water  and  add  a  drojj  or  two  of  glycer- 
ine. 8.  A  mixture  of  one  jjart  of  dry 
chloride  of  calcium,  or  2  parts  of  the  same 
salt  in  the  crystallized  form,  and  36  parts 
of  gum  arable,  dissolved  in  water  to  a  prop- 
er consistency,  forms  a  mucilage  which 
holds  well,  does  not  crack  by  drying,  and 
yet  does  not  attract  sufficient  moisture  from 
the  air  to  become  wet  in  damp  weather.  4. 
For  attaching  labels  to  tin  and  other  bright 
metallic  surfaces,  first  rub  the  .siirfaee  with 
a  mixture  of  muriatic  acid  and  alcohol,  then 
apply  the  label  with  a  very  thin  coating  of 
the  paste,  and  it  Avill  adhere  almost  as  well 
as  on  glass.  5.  To  make  cement  for  at- 
taching labels  to  metals,  take  10  parts  trag- 
acanth  mucilage,  10  parts  of  honey,  and  1 
part  flour.  The  flour  appears  to  hasten  the 
drying,  and  renders  it  less  susceptibl>'  to 
damp. 

A  OoLORLESs  Cement  for  Joining  Sheets 
OF  Mica. 

A  colorless  cement  for  joining  sheets  of 
mica  is  prepared  as  follows : — Clear  gela- 
tine softened  by  soaking  it  in  a  little  cold 
water,  and  the  excess  of  water  pressed  out 
by  gently  squeezing  it  in  a  cloth.      It  is 


2-4        PAPER   AND    PRINTING   RECIPES. 

then  heated  over  a  water  bath  until  it  be- 
gins to  melt,  and  just  euough  hot  proof 
spirit  (not  in  excess)  stirred  in  to  make  it 
fluid.  To  each  piut  of  this  sohitiou  is 
gradually  added,  while  stirring,  one-fourth 
ounce  of  sal-ammoniac  and  one  and  one- 
third  ounces  of  gum  mastic,  previously  dis- 
solved in  four  ounces  of  rectified  spirits. 
It  must  be  warmed  to  liquefy  it  for  use, 
and  kept  in  stoppered  bottles  when  not  re- 
quired. This  cement,  when  pi'operly  pre- 
pared, resists  cold  water. 

A  Oement  That  "Will  Resist  the  Damp. 

A  cement  that  will  resist  the  damp,  but 
will  not  adhere  if  the  surface  is  greasy,  is 
made  by  boiling  together  2  parts  shellac,  1 
part  borax,  and  16  parts  water. 

To  Make  Glue  Waterproof. 

The  best  substance  is  bichromate  of  pot- 
ash. Add  about  one  part  of  it,  first  dis- 
solved in  water,  to  every  thirty  or  forty 
parts  of  glue ;  but  you  must  keep  the  mix- 
ture in  the  dark,  as  light  makes  it  insolu- 
ble. When  you  have  glued  your  substanc- 
es together,  expose  the  joint  to  the  light, 
and  every  part  of  the  glue  thus  exposed 
will  become  insoluble,  and  therefore  water- 
proof. If  the  substances  glued  together 
are  translucent  like  paper,  all  ^vill  become 
waterproof;  if  opaque  like  wood,  only  the 


PAPER    AND    PKINTINO    RECIPES.        25 

exposed  edges  will  become  so,  but  they  also 
protect  the  interior — not  exposed  parts— 
against  the  penetration  of  moisture. 

Two  Glue  Recipes. 

A  glue  ready  for  u.se  is  made  by  adding 
to  any  quantity  of  glue,  c<jmmon  whisky, 
instead  of  water.  Put  botli  together  in  a 
bottle,  cork  it  tight  and  set  it  for  three  or 
four  days,  when  it  ^\ill  l)e  fit  for  use  with- 
out the  application  of  heat.  Glue  thus 
prepared  will  keep  for  yeai-s,  and  is  at  all 
times  fit  for  use,  except  in  very  cold  weath- 
er, when  it  should  be  set  in  wai-m  water 
before  using.  To  obviate  the  difhcultv  of 
the  stopper  getting  tight  by  the  glue  diy- 
ing  in  the  mouth  of  the  vessel,  use  a  tin 
vessel  ^\'ith  the  cover  fitting  tight  on  the 
outside  to  prevent  the  escape  of  the  spirit 
by  evaporization.  A  strong  solution  of 
isinglass  made  in  the  same  manner  is  an 
excellent  cement  for  leather. 

A  valuable  glue  is  made  by  an  admixture 
with  common  glue  of  one  part  of  acid 
chromate  of  lime  in  solution  to  five  parts 
of  gelatine.  The  glue  made  in  this  man- 
ner, after  exposure,  is  insoluble  in  water, 
and  can  be  used  for  mending  glass  objects 
likely  to  be  exposed  to  hot  water.  It  can 
also  be  made  available  for  waterproofing 
articles  such  as  sails  or  awnings,  but  for 


26        PAPER   AND    PRINTING   REOIPKS. 


flexible  fulnies  it  is  not  suitable.  A  few 
immersions  will  bo  i'ouiid  sufficient  to  ren- 
der the  article  imperAaous  to  "wet.  It  is 
necessary  that  fractured  articles  should  be 
exposed  to  the  light  after  being  mended, 
antl  then  warm  water  -ndll  have  no  effect  on 
them,  the  chromate  of  lime  being  better 
than  the  more  generally  used  bichromate 
of  potash. 

Postage  Stamp  Mucilage. 

Postage  stamp  mucilage  can  be  made  by 
dissolving  an  ounce  of  dextrine  in  five 
ounces  of  hot  water,  and  adding  one  ounce 
of  acetic  acid  and  one  ounce  of  alcohol. 
The  dextrine  should  be  dissolved  in  water 
in  a  glue  pot,  or  some  similar  vessel,  which 
will  prevent  burning.  The  quantities  in 
this  recipe  may  l)e  varied  by  taking  any 
required  weights  in  the  j^roportions  men- 
tioned. Dr.  Phin  says  that  dextrine  mixed 
with  water  makes  a  good  label  mucilage  if 
a  drop  or  two  of  glycerine  be  added  to  it. 
Too  much  glycerine  will  prevent  the  mu- 
cilage drying;  Avith  too  little  it  will  be 
likely  to  crack. 

How  TO  Keep  Mucilage  Feesh. 

To  keep  mucilage  fresh,  and  prevent  the 
formation  of  mould,  drojj  into  the  bottle  a 
few  crystals  of  thymol,  Avhich  is  a  strong 
and  harmless  antiseptic. 


PAPER    AND    PRINTIN<{    KECIPMS.         37 


MUOILAGE   IN  A  SOLID  POEM  WHICH    WlLL 

Dissolve  in  Water. 

Mucilage  in  a  couvenieut  .solid  lorm,  aud 
which  will  readily  dissolve  in  water,  for 
fastering  i)ui)er,  jirints,  etc.,  may  be  made 
as  follows : —Boil  one  pound  of  the  best 
white  glue,  and  strain  very  clear;  boil  also 
four  ounces  of  isinglass,  and  mix  the  two 
together;  place  them  in  a  water  bath— a 
glue  pot  will  do— with  one-half  pound  of 
white  sugar,  and  evaporate  till  the  liquid  is 
quite  thick,  when  it  is  to  be  poured  into 
molds,  dried,  and  cut  into  pieces  of  conven- 
ient size. 

Mucilage  tor  Pasteboard. 

Persons  are  often  at  a  loss  for  a  very 
strong  mucilage  having  sufficient  power  of 
tenacity  to  fasten  sheets  of  pasteboard  to- 
gether. The  following  cement  is  recom- 
mended by  a  scientific  authority.  It  ha.s 
the  additional  advantage  of  being  water- 
proof. Melt  together  equal  parts  of  pitch 
-and  gutta-percha.  To  nine  parts  of  this 
add  throe  parts  of  boiled  oil,  and  one-fifth 
part  of  litharge.  Continue  the  heat  with 
stirring  until  a  thorough  imion  of  the  i)i- 
gredients  is  effected.  Apply  the  mixture 
hot  or  somewhat  cooled,  and  thinned  \nth 
a  small  quantity  of  benzole  or  turpentine^ 
oil. 


28        PAPER    AND    PRINTING   RECIPES. 

A  Portable  Ink. 

The  auiliue  colors,  which  possess  great 
tiuctorial  powers,  can  be  conveniently  used 
in  the  prej^aration  of  a  i)ortable  ink.  Sat- 
urate white  tissue  paper  with  an  aniline 
violet,  or  with  aniline  black,  by  dipping  the 
sheets  into  a  saturated  alcoholic  solution  of 
these  colors ;  then  dry  and  ])ack  them  in 
suitable  i^arcels,  and  you  will  have  a  porta- 
ble ink,  either  violet  or  black. 

Indelible  India  Ink. 

Draughtsmen  are  aware  that  lines  dr»wn 
on  paper  with  good  India  ink  well  prepared 
cannot  be  washed  out  by  mere  sponging 
or  washing.  Now,  however,  it  is  proposed 
to  take  advantage  of  the  fact  that  glue  or 
gelatine,  when  mixed  with  bichromate  of 
potassa,  and  exposed  to  the  Hght,  becomes 
insoluble,  and  thus  renders  India  ink, 
which  always  contains  a  little  gelatine,  in- 
delible. Reisenbichler,  the  discoverer, 
calls  this  kind  of  ink  "Harttusche,"  or 
"hard  India  ink."  It  is  made  by  adding  to 
the  common  India  ink  of  commerce  about 
one  per  cent,  in  a  very  fine  powder,  of  bi- 
chromate of  potash.  This  must  be  mixed 
with  the  ink  in  a  dry  state ;  otherwise,  it  is 
said,  the  ink  coidd  not  be  easily  ground  in 
water.  Those  who  cannot  provide  them- 
selves with  ink  prepared  as  above  in  a  cake, 


PAPER   AND    PBINTING   RECIPES.        29 

cau  use  a  dilute  solution  of  bichromate  of 
potash  in  rubbing  up  the  ink.  It  answers 
the  same  purpose,  though  the  ink  should 
be  used  thick,  so  that  the  yellow  salt  will 
not  spread. 

To  Make  Copying  Inks. 

Dissolve  in  a  pint  and  a  half  of  writing 
ink  (violet  or  any  other  color)  an  ounce 
of  lump  sugar  or  sugar  candy.  A  copying 
ink,  so  slow  drying  that  writing  in  it  can 
be  copied  by  the  use  of  no  greater  pressure 
than  the  hand  can  produce  when  passed 
over  a  sheet  of  paper,  may  made  by  boiling 
away  nearly  half  of  some  ordinary  writing 
fluid  and  then  adding  as  much  glycerine. 

A  Good  Paster. 

Let  a  little  starch  lie  in  vinegar  over 
night.  Pour  in  boiling  water,  stirring  brisk- 
ly till  it  thickens.  It  will  keep  better  if  a 
few  drops  of  carbolic  acid  are  added.  A 
very  little  corrosive  sublimate  will  keep  out 
insects.  A  little  glue  dissolved  in  the  vin- 
egar will  make  it  stronger.  It  leaves  the 
pasted  scrap-page  flexible,  adheres  firmly, 
dries  quickly,  and  does  not  give  a  varniahy 
look  to  even  the  thinnest  print  paper. 

A  Paste  Which  Will  Not  Spoil. 

A  paste  that  will  not  spoil  is  made  by  dis- 
solving a  piece  of  alum  the  size  of  a  walnut 


30        PAPER   AND   PRINTING   RECIPES. 

in  one  pint  of  water.  Add  to  this  two 
tablespoonfuls  flour  made  smooth  with  a 
little  cold  water,  and  a  few  drops  of  oil  of 
cloves,  putting  the  whole  to  a  boil.  Put  up 
in  a  glass  canning-jar. 

Electric  Papee. 

Electric  pajier  may  be  made  thus : — Tis- 
sue paper  or  filtering  paper  is  soaked  in  a 
mixture  consisting  of  equal  quantities  of 
saltpetre  and  sulphuric  acid.  It  is  after- 
wards exposed  to  dry,  when  a  pyrosyliue 
(a  substance  resembling  gun-cotton)  forms. 
This  is  in  the  highest  degree  electrical. 

A  Silver  Solder. 

To  make  silver  solder  melt  together  34 
parts,  by  weight,  silver  coin,  and  five  parts 
copper ;  after  cooling  a  little,  drop  into  the 

mixture  4  parts  zinc,  then  heat  again. 

t 

An  Alloy  For  Glass  or  Metal. 

The  following  alloy,  it  is  said,  will  attach 
itself  firmly  to  glass,  porcelain  or  metal. — 
Twenty  to  thirty  parts  of  finely  pulverulent 
copper,  prepared  by  preciijitation  or  reduc- 
tion with  the  battei'y,  are  made  into  a  paste 
with  oil  of  vitriol.  To  this  seventy  parts 
of  mercury  are  added,  and  well  triturated. 
The  acid  is  then  washed  oiit  with  boiling 
water  and  the  compound  allowed  to  cool. 
In  ten  or  twelve  hours  it  becomes  sufficient- 


PAPKK    \IV    PKlNTINIi    KECIVKS  31 

ly  hard  to  receive  a  brilliant  polish,  and  to 
scratch  the  surface  of  tin  or  gold.  When 
heated  it  is  plastic,  but  does  not  contmct 
on  cooling. 

An  Improved  Process  of  Photo-Engrav- 
ing. 

The  metal  plate,  of  cojjper  or  zinc,  is 
coated  with  a  very  thin  layer  of  bitumen  of 
Judaea,  and  when  tliis  coat  has  become  per- 
fectly dry,  a  film  of  bichromatized  albumen 
is  flowed  over  the  plate.  It  is  next  exposed 
in  the  camera,  and  afterwards  washed  with 
water,  in  order  to  dissolve  all  the  albumen 
which  has  not  been  rendered  insoluble  by 
the  luminous  action ;  it  is  then  treated  with 
spirit  of  turpentine,  which  dissolves  all 
those  parts  of  the  layer  of  bitumen  that 
have  become  exposed.  The  plate  can  now 
be  attacked  directly  by  water  acidulated 
with  from  four  to  six  jjer  cent  of  nitric  acid. 
The  great  advantage  of  this  method  con- 
sists in  the  high  sensitiveness  of  the  bi- 
chromatized albumen,  at  the  same  time  pre- 
serving the  solid  reserve  produced  by  the 
bitumen  of  Judaea  on  a  metallic  surface. 

To  Make  New  a  Corroded  Pen- 

When  a  pen   has  become  so  corroded  as 

.  to  be  useless,  it  can  be  made  good  as  new 

by  holding  it   in  the  flame  of  a  gas  jet  for 


32        PAPER    AND    PRINTING    KKCIPES. 

half  a  minute;  then  drop  in  cold  water, 
take  out,  \npe  clean,  and  it  will  be  ready 
for  use  again. 

Enamel  For  Fine  Cards- 

For  the  biilliiuit  enamel  now  often  gen- 
erally applied  to  fine  cards  and  other  pur- 
poses, the  following  formula  is  given  : — For 
white  and  for  all  pale  and  delicate  shades, 
take  twenty-four  parts,  by  weight,  of  par- 
affine ;  add  thereto  100  parts  of  pure  kaolin 
(China  clay),  very  dry  and  reduced  to  a  fine 
powder.  Before  mixing  with  the  kaolin, 
the  paraffiue  must  be  heated  to  fusing  point. 
Let  the  mixture  cool,  and  it  will  form  a 
homogeneous  mass,  which  is  to  be  reduced 
to  powder,  and  worked  into  paste  in  a  paint- 
mill,  with  warm  water.  This  is  the  enamel 
ready  for  application.  It  can  be  tinted 
according  to  fancy. 

Eleotrotyping  Handwriting- 

To  produce  electrotypes  or  stereotypes  of 
letters,  signatures,  ordinary  written  matter, 
drawings  or  sketches,  coat  a  smooth  surface 
of  glass  or  metal  with  a  smooth,  thin  layer 
of  gelatine,  and  let  it  dry.  Then  write  or 
draw  upon  it  with  an  ink  containing 
chrome  alum,  allow  it  to  dry  exposed  to 
light,  and  immerse  the  plate  in  water.  Those 
parts  of  the  surface  which  have  not  been . 
'written  upon  will  swell  ixp  and  form  a  re- 


PAPER    AND    PRINTING    RECIPES.        33 

lief  plate,  while  those  jjarts  which  have  been 
written  upon  with  the  chrome  ink  have  be- 
come insoluble  in  water,  after  exposure  to 
Ught.  The  relief  may  be  transferred  to 
plaster  of  Paris,  and  from  this  may  be  made 
a  plate  in  type  metal. 

Black  Paint  for  Blackboards- 

Take  shellac  varnish,  one-]ialf  gallon; 
lampblackjfivo  ounces ;  powdered  iron  ore  or 
emery  in  fine  powder,  three  ounces.  If  too 
thick,  thin  down  with  alcohol.  Give  the 
wood  three  coats  of  the  composition,  allow- 
ing each  to  dry  before  putting  on  the  next. 
The  first  coat  may  be  of  shellac  and  himp- 
black  alone. 

To  Clean  Steel  Pens- 

Potato  is  used  to  clean  steel  pens,  and 
generally  act  as  a  pen-wiper.  It  removes 
all  ink  crust,  and  gives  a  peculiarly  smooth 
flow  to  the  ink.  Pass  new  pens  two  or 
three  times  through  a  gas  flame,  and  then 
the  ink  will  flow  freely. 

Stationers'  Windows. 

It  is  important  tliat  strangers  should  get 
a  good  impression  with  a  tasty  window,  or 
a  polite  reception  when  entering  the  store. 
Remember  that  first  impressions  go  a  great 
way,  and  when  once  formed,  good  or  bad, 
arc  very  hard    to    get  rid  of.       Make  it  a 


34       PAPER  AND   PRINTING  RECIPES. 

special  point  to  clean  the  window  once  a 
weeii,  put  in  dilferent  stock  every  time,  and 
do  not  be  afraid  to  disjilay  goods  because 
the  diist  -ndll  spoil  them.  If  the  article  in 
question  is  delicate  and  easily  ruined,  leave 
it  in  the  window  only  a  few  days ;  disjilay 
samples  of  the  latest  goods,  and,  if  neces- 
sary, buy  some  article  that  is  showy,  and 
which  you  think  will  attract  i^eople,  especi- 
ally for  the  window,  even  though  the 
amount  expended  is  "sunk."  It  will  cer- 
tainly pay  in  the  end.  If  your  stock  of  a 
certain  article  or  class  of  goods  is  large,  de- 
vote the  wliole  window  to  it  for  a  week. 

It  is  impossible  to  give  rules  for  the  ar- 
rangement, which,  of  course,  depends  on 
the  goods  to  be  shown  and  the  taste  of  the 
person  dressing  the  window.  Stamped  pa- 
pers and  visiting  c^ards  can  be  shown  effect- 
ively in  the  following  manner: — Have  a, 
number  of  wooden  blocks  made  the  size  of 
a  quarter  of  a  ream  of  pajjer  and  a  j^ackage 
of  visiting  cards ;  wrap  these  neatly  with  a 
sample  sheet  of  pa[)er  or  cards  on  the  out- 
side, tied  with  ribbon.  Another  way  to 
show  printed  visiting  cards  is  to  make  a 
email  pyramid  oi  them  by  taking  three 
small  square  boxes  of  different  sizes,  which, 
when  placed  one  on  top  of  the  other,  will 
form  a  small  pyramid.  Cover  these  entire- 
ly with  samph's  of  visiting  cards,  and  placa 
in  the  center  of  the  window. 


lAPEU    A>fD    lM{I.\TI.V(t    HKOIPES.         35 

Photo-Lithographic   Transfer    Paper- 

Photo-Iitlioyntphic  transfer  pa})er  and 
ink  are  pi-eparfd  in  the  following  manner : 
— The  paper  is  treated  with  a  solution  of  a 
hundred  parts  of  gelatine  and  one  part  of 
chrome  alum  in  2,4' lO  parts  of  water.  After 
drying,  it  is  treat«^d  with  the  white  of  egg. 
It  is  made  sensitive  with  a  bath  consisting 
of  one  part  of  chrome  aliim,  l-t  parts  of  wa- 
ter and  4  parts  of  alcohol.  The  latter  in- 
gredient prevents  the  white  of  egg  from  dis- 
soh-ing.  On  the  dark  places  the  white  ot 
egg,  together  »vith  the  ink  with  which  the 
exposed  paper  has  been  coated,  separates 
in  water.  The  transfer  ink  consists  of  20 
parts  of  printing  ink,  50  parts  of  wax,  40 
parts  t>f  tallow,  :}5  parts  of  coloi^hony,  210 
parts  of  oil  of  tm-pentine,  80  parts  of  Ber- 
lin blue.  It  is  found  that  a  varnish  formed 
of  Canadian  balsam,  dissolved  in  turpentine, 
supplies  a  most  valuable  means  of  making 
paper  transparent.  The  mode  by  which 
this  is  most  satisfactorily  accomplished  is 
by  applying  a  thin  coating  of  this  varnish  to 
the  paper,  so  as  to  jiermeate  it  thoroughly, 
after  which  it  is  to  be  coated  on  both  sides 
with  a  much  thicker  mixture.  The  paper 
is  kept  warm  by  performing  the  operation 
before  a  hot  tire,  and  a  third  and  even  a 
fourth  coating  may  be  applied  until  the 
texture  of  the  i)aper  is  seen  to  merge  into 
homoegoneouH  translncency.      Paper   pre- 


36        PAPER   AND    PRINTING   RECIPES. 

pared  according  to  this  process  is  said  to 
come  nearer  than  any  other  to  the  highest 
standard  of  perfection  in  transparent  paper. 
Care  must  be  used  in  making,  as  the  mater- 
ials are  highly  inflammable. 

Different  Kinds  of  Engraving- 

"Line"  engraviu},' is  of  the  highest  order. 
All  engravings  are  done  in  "line" — simply 
straight  lines.  Next  comes  "line"  and 
"stiple."  "Stiple"  means  dots — small  dots 
like  this : — ....  — ....  These  small  dots 
are  used  to  lighten  up  the  high  parts  of  the 
face  or  drapery.  It  is  very  hard  to  engrave 
a  face  in  lines,  simply,  and  only  master  en- 
gravers have  ever  undertaken  it.  The  mas- 
ters understand  and  practice  both  in  "line" 
and  "stiple."  Claude  Mellan  engraved,  in 
1700,  a  full  head  of  Christ,  with  one  unbrok- 
en line.  This  line  commenced  at  the  apex 
of  the  nose,  and  wound  out  and  out  like  a 
watch  spring.  Mezzotint  engraving.s  are 
produced  thus: — The  steel  or  copper  is 
made  rough  like  fine  sand  paper.  To  pro- 
duce soft  effects,  this  rough  surface  is 
scraped  off.  If  you  want  a  high  place  or 
"high  light"  in  your  engraving,  scrape  the 
surface  smooth,  then  the  ink  will  not  touch 
it.  If  you  want  faint  color,  scrape  off  a  ht- 
tle.  Such  engravings  look  like  lithographs. 
Etching  is  adapted  to  homely  and  famiUar- 
eketches.  Etching  is  done  thus : — The  cop 


PAPER    AND    PKINTING    RECIPES.        37 

per  or  steel  plate  is  heated  aud  covered 
with  black  varnish.  The  engraver  scratches 
off  this  varnish  with  sharp  needles,  working 
on  the  surface  as  he  would  on  paper  with 
a  pencil.  Nitric  acid  is  then  passed  over 
the  plate,  and  it  eats  away  at  the  steel  and- 
copper  wherever  the  needle  has  scraped  oflf 
the  varnish.  When  the  varnish  is  removed 
with  spirits  of  turpentine,  the  engraving  is 
seen  in  sunken  lines  on  the  plate. 

How  TO  Preserve  Pencil  Sketches. 

The  pencil  drawings  of  mechanical 
draughtsmen  and  engineers  may  be  ren- 
dered ineffaceahlo  by  the  following  process : 
—  Slightly  warm  a  sheet  of  oriliuary  draw- 
ing paper,  then  place  it  carefully  on  the 
surface  of  a  solution  of  white  resin  in  alco- 
hol, leaving  it  there  long  enough  to  become 
thoroughly  moistened.  Afterward  dry  it 
in  a  current  of  warm  air.  Pai^er  prepared 
in  this  way  has  a  very  smooth  surface.  In 
order  to  fix  the  drawing,  the  paper  is  to  be 
warmed  for  a  few  moments.  This  process 
may  prove  useful  for  the  preservation  of 
plans  or  designs  when  the  want  of  time  or 
any  other  cause  will  not  allow  the  dratughts- 
man  reproducing  them  in  ink.  A  simpler 
method  than  the  above,  however,  is  to 
brush  over  the  back  of  the  pajier  contain- 
ing the  charcoal  or  pencil  sketch  with  a 
weak  solution  of  white  shellac  in  alcohol. 


38         I'APEU    AND    PIUNTING   RECIPES. 

Oare  of  Wood  Type. 

Wood  type  should  always  be  kept  in  a 
cool  and  dry  place — not,  as  is  often  the 
caee,  a  few  feet  from  a  large  stove,  or  di- 
rectly over  the  lye  and  wash  tub.  The 
drawer  or  shelves — drawers  or  cases  are 
preferable  to  shelves — where  they  are  kept, 
should  not,  as  veiy  often  happens,  be  made 
of  unseasoned  wood,  for  this  reason :  type 
wood  is  usually  perfectly  seasoned,  and 
when  allowed  to  remain  for  any  length  of 
time  on  a  damp  surface,  the  moisture  is  ab- 
sorbed, the  bottom  expands,  and  a  warped 
type,  ready  to  be  broken  at  the  first  im- 
pression, is  the  result. 

Wood  type  should  only  be  washed  with 
oil.  A  moistened  cloth  is  sufficient,  is 
more  economical,  and  is  certainly  much 
cleaner  than  using  their  weight  in  oil.  All 
wood  type  have  a  smooth  and  polished  face, 
and  if  properly  cleaned  when  jjut  away  will 
last  for  years.  In  fact,  proper  use  only  im- 
proves the  working  qualities.  Wood  type 
forms  should  not  l)e  left  standing  near  hot 
stoves,  or  left  locked  up  over  night  on  a 
damp  press  or  stone  to  warp,  swell,  and 
perhaps  ruin  a  costly  chase. 

Oopper-Plating  on  Zino. 

Take  an  organic  salt  of  copper — for  in- 
stance, a  tartrate.  Dissolve  126  grammes 
STilpbate  of  copper  (l)lne  vitriol)  in    two  li- 


PAPEK    AND    I'KINTING    KKC1PE8.  39 

tres  of  water;  also  227  grammes  tartrate  of 
potash  and  286  grammes  crystallized  car- 
bonate of  soda  iu  2  litres  of  water.  On 
mixing  the  two  solutions,  a  light  bluish- 
green  precii^itate  of  tartrate  of  copper  is 
formed.  It  is  thrown  on  a  linen  filter  and 
afterwards  dissolved  in  half  a  litre  of  caus- 
tic soda  solution  of  16°  B..  when  it  is  ready 
for  use. 

The  coating  obtained  from  this  solution 
is  very  pliable,  smooth  and  coherent,  witli  a 
fine  surface;  acquires  any  desired  thick- 
ness if  left  long  enough  in  the  bath. 

Other  metals  can  also  be  employed  for 
plating,  in  the  form  of  tartrates.  Instead 
of  tartrates,  phosphates,  oxalates,  citrates, 
acetates  and  borates  of  metals  can  be  used ; 
so  that  it  seems  posssblc  to  entirely  dis- 
pense with  the  use  of  cyanide  baths. 

To  Transfer  Engravings  to  Mother-of- 
Pearl. 

To  transfer  engravings  to  mother-of- 
pearl,  coat  the  shell  with  thin  wliite  copal 
varnish.  As  soon  as  the  varnish  becomes 
sticky,  place  the  engraving  face  down  on 
it,  and  press  it  well  into  the  varnish.  After 
the  varnish  becomes  thorouglily  dry,  moist- 
en the  back  of  the  engraving  and  remove 
the  paper  very  carefully  by  rnbbing.  When 
the  paper  is  all  removed  and  the  surface 
becomes  dry,  varnish  lightly  with  copal. 


40        PAPER   AND   PRINTING   RECIPES. 

Metal  for  Stereotyping- 

For  every  six  pcmnds  of  lead  add  one 
pound  of  antimony.  The  antimony  should 
be  broken  into  very  small  pieces,  and 
thrown  on  the  top  Oi  the  lead  when  it  is  at 
red  heat.  It  is  a  white  metal,  and  so  brittle 
that  it  may  be  reduced  to  powder ;  it  melts 
when  heated  to  redness ;  at  a  higher  heat  it 
evaporates. 

The  cheajsest  and  most  simple  mode  of 
making  a  stereotype  metal  is  to  melt  old 
type,  and  to  every  fourteen  pounds  add 
about  six  pounds  of  grocer's  tea-chest  lead. 
To  prevent  any  smoke  arising  from  the 
melting  of  tea-chest  lead  it  is  necessary  to 
melt  it  over  an  ordinary  fire-place,  for  the 
purpose  of  cleansing  it,  which  can  be  done 
by  throwing  in  a  small  piece  of  tallow  about 
the  size  of  a  nut,  and  stir  it  briskly  with  the 
ladle,  when  the  impurities  will  rise  to  the 
surface,  and  can  be  skimmed  oft". 

In  the  mixing  of  lead  and  type-metal  see 
that  there  are  no  pieces  of  zinc  among  it,  the 
least  portion  of  which  will  spoil  the  whole 
of  the  other  metal  that  is  mixed  with  it. 
Zinc  is  of  a  bluish  white  color ;  its  hue  is  in- 
termediate between  that  of  lead  and  tin.  It 
takes  about  eighty  degrees  more  heat  than 
lead  to  bring  it  into  fusion;  therefore, 
should  any  metal  float  on  the  top  of  the 
lead,  do  not  try  to  mix  it,  but  immediately 
take  it  off  with  the  ladle. 


PAPEU   ANU   PRINTINU    RECIPES.        41 

How  TO  Fix  Penoil  Maeks  so  They  Will 
Not  Kub. 

To  fix  pencil  marks  so  tliey  will  not  rub, 
take  well  skimmed  milk  and  dilute  with  an 
equal  bulk  of  water.  Wash  the  pencil 
marks  (whether  writing  or  drawing)  with 
this  liquid,  using  a  soft  camel-hair  brush, 
and  avoid  all  rubbing.  Place  upon  a  flat 
board  to  dry. 

How   to  Obtain  a  Bright  and  Lastiuq 
Red  Edge 

A  bright  and  lasting  red  edge  may  be  ob- 
tained by  the  following  process : — Take  the 
best  vermilUou  and  add  a  pinch  of  carmine ; 
mix  this  with  glaire,  slightly  diluted.  Take 
the  book  and  bend  over  the  edge  so  as  to 
allow  the  color  to  slightly  permeate  it ;  then 
apply  the  color  with  a  bit  of  fine  Turkey 
sponge,  bend  over  the  edge  in  the  opposite 
direction,  and  color  again.  When  the  three 
edges  have  been  done  in  this  manner,  allow 
them  to  dry.  Next  screw  the  book  tightly 
up  in  the  cutting  press,  and  after  wiping 
the  edge  with  a  waxed  rag,  burnish  well 
with  a  flat  agate  burnisher. 

To  Eestore  the    Lustre   of   Morocco 
Leather. 

The  lustre  of  morocco  leather  is  restored 
by  varnishing  with  white  of  egg. 


42        PAPER   AND   PKlKTlNCr   KECIPES. 

To  Eestore  the  Original  Whiteness  of 
Copper-Plate,  Wood  Engraving,  Etc. 

The  following  process  will  restore  the 
original  whiteness  of  copper-plate,  wood- 
engraving  or  printed  matter : — Place  a  piece 
of  phosphorus  in  a  large  glass  vessel ;  pour 
in  water  of  SO''  centigrade  (that  is  86°  Fah- 
renheit) temperature  until  the  phosphorus 
is  half  covered.  Cork  up,  but  not  tightly, 
the  glass  vessel,  and  lay  it  in  a  modei-ately 
•warm  place  for  fourteen  hours.  Damp  the 
paper  that  is  to  be  bleached,  with  distilled 
water ;  fasten  it  to  a  piece  of  platinum  wire 
and  hang  it  up  inside  the  glass  vessel.  The 
faded  paper  after  a  short  time  will  regain 
its  original  white  color.  It  should  then  be 
taken  out  and  washed  in  wat<?r ;  next  drawn 
through  a  weak  solution  of  soda,  and  tinally 
dipped  in  pure  water  and  laid  on  a  glass 
table,  and  thus  made  dry  and  smooth. 

PoR  Eleotrotyping  on  China. 

For  electrotyping  on  China  and  similar 
non-conducting  materials :  —  Sulphur  is 
dissolved  in  oil  of  spike  lavender  to  a  syr- 
upy consistence ;  then  chloride  of  gold  or 
chloride  of  platinum  is  dissolved  in  ether, 
and  the  two  solutions  mixed  under  a  gentle 
heat.  The  compound  is  next  evaporated 
until  the  thickness  of  ordinary  paint,  in 
which  condition  it  is  applied  with  a  brush 
to  such  portions  of  the  china,  glass  or  other 


PAPER   AND    PRINTING    RECIPES.  43 

fabric  as  it  is  desired  to  cover,  according 
to  the  design  or  pattern,  with  the  electro- 
motallic  deposit.  The  objects  are  baked  in 
the  usiial  way  before  thej'  are  immersed  in 
the  bath. 

Painting  on  Ebonized  "Wood. 

The  great  difficulty  to  be  overcome  in 
painting  on  ebonized  wood,  is  the  non-ab- 
sorbent character  of  the  surface,  wliich  will 
not  allow  tlie  paint  to  sink  in.  Washiiig 
the  panel  over  with  onion  juice  enables 
the  paint  to  adhere  more  easily.  The  jDaint, 
whether  oil  or  water  color,  must  be  laid  on 
thickly.  In  order  that  the  painting, 
whether  of  flowers  or  figures,  shall  prove  a 
decoration,  the  black  sjiace  between  the 
painted  figures  must  be  gTaceful  in  shape. 
Water  color  paintings  on  such  panels  re- 
quire to  be  varnished.  Oil  color  does  not 
need  the  varnish. 

How  Gilding  is  Done. 

Letters  written  on  vellum  or  paper  are 
gilded  in  three  ways.  In  the  first  a  little  size 
is  mixed  with  the  ink,  and  the  letters  are 
written  as  usual ;  when  they  are  dry  a  slight 
degree  of  stickiness  is  jirodxiced  by  breath- 
ing on  them,  upon  Avhich  the  gold  leaf  is 
immediately  applied,  and  by  a  little  pres- 
sure may  be  made  to  adhere  with  sufficient 
firmness.     In    the    second    method    some 


■ii        I'APEK    AND    PKINTING    KEC'IPEb. 

white  lead  or  chalk  is  ground  up  with  strong 
.size,  and  the  letters  are  made  with  this  by 
means  of  a  brush;  when  the  mixture  is 
ulmost  dry,  the  gold  leaf  may  be  laid  on 
and  afterward  burnished.  The  best  method 
is  to  mix  up  some  gold  ])owder  with  size, 
and  make  the  letters  of  this  by  means  of  a 
brush 

The  edges  of  the  leaves  of  books  are  gild- 
ed while  in  the  binders'  press,  by  first  ap- 
plying a  composition  formed  of  four  parts 
of  Armenian  bole  and  one  of  sugar  candy, 
ground  together  to  a  i^roper  consistence ;  it 
is  laid  on  by  a  brush  with  white  of  egg ;  this 
coating,  when  nearly  dry,  is  smoothed  by 
the  l)urnislier;  it  is  then  slightly  moistened 
with  clear  water,  the  gold  leaf  applied,  and 
afterwards  burnished. 

In  order  to  impress  the  gilt  figures  on  the 
leather  covers  of  books,  the  leather  is  first 
dusted  over  with  very  fine  powdered  resin 
or  mastic;  then  the  iron  tool  by  which  the 
figure  is  made  is  moderately  heated  and 
pressed  down  upon  a  piece  of  leaf  gold 
wiiich  slightly  adheres  to  it,  being  then 
immediately  axiplied  to  the  surface  of  the 
leather  with  a  certain  force;  the  tool  at  the 
same  time  makes  an  impression,  and  melts 
the  mastic  which  lies  between  the  heated 
iron  and  the  leather;  in  consequence  of 
this,  the  gold  with  which  the  face  of  the 
tool  is  covered  is  made  to  adhere   to  the 


PAPER   AND    PUINTIXG    RECIPES.        45 

leather,  so   that  on  removing  the   tool   a 
gilded  impression  of  it  remains  behind. 

Principal  Colors  of  Gold  for  Grinding. 

Tlie  principal  colors  of  gold  for  grinding 
are  red,  gi'eeu,  yellow.  These  should  be 
kept  in  different  amalgams.  The  part 
which  is  to  remain  of  the  first  color  is 
to  be  stopped  off  with  a  composition  of 
chalk  and  glue;  the  variety  required  is 
produced  by  gilding  the  unstopi^ed  jjarts 
with  the  projier  amalgam,  according  to  the 
usual  mode  of  gilding.  Sometimes  the 
amalgam  is  applied  to  the  surface  to  be 
gilt,  without  any  quacking,  by  spreading  it 
with  aquafortis ;  but  this  dejjends  on  the 
same  principle  as  a  previous  qmcking. 

Writing  on  Metals. 

To  wi'ite  on  metals,  take  half  a  pound  of 
nitric  acid  and  one  ounce  muriatic  acid. 
Mix  and  shake  w-ell  together,  and  then  it  is 
ready  for  nse.  Cover  the  plate  you  wish 
to  mark  with  melted  beeswax;  when  cold, 
write  your  inscrii^tion  jjlainly  in  the  wax 
clear  to  the  metal  with  a  sharp  instrument. 
Then  apply  the  mixed  acids  with  a  feather' 
carefully  filling  each  letter.  Let  it  remain 
from  one  to  ten  hours,  according  to  the  ap- 
pearance desired,  throw  on  water,  which 
stops  the  process,  and  remove  tlie  wax. 


46        PAPER   AND    PRINTING   RECIPES. 

How  TO  Transfer  a  Photographic  Print 
TO  Glass. 

To  transfer  a  photographic  print  to  glass 
for  painting  or  for  other  jjurposes,  separate 
the  paper  print  from  the  background  by 
steaming  it;  dry  thoroughly,  and  having 
given  the  warmed  glass  an  even  coating  of 
clean  balsam  or  negative  varnish,  place  the 
face  of  the  print  on  the  surface  thus  pre- 
pared, smooth  it  out  and  let  it  stand  in  a 
cool  place  until  the  varnish  has  hardened. 
Then  apply  water,  and  with  a  soft  piece  of 
gum-rubber  rub  oif  the  paper  so  as  to  leave 
the  photographic  image  on  the  varnished 
glass. 

Stereotyping  Woodcuts. 

In  stereotyi^ing  woodcuts,  care  should  be 
taken  that  they  are  thoroughly  dry  before 
being  sent  to  the  foundry,  as  the  intense 
heat  to  wliich  they  are  subjected  frequently 
causes  them  to  warp  and  split,  especially  if 
pierced. 

To  GrILD  WITH  GOLD  LEAF, 
Bookbinders  use  gold  leaf  in  two  ways — 
to  gild  on  the  edge,  and  to  place  gold  let- 
ters on  the  binding.  To  gild  on  the  edge, 
the  edge  is  smoothly  cut,  put  in  a  strong 
press,  scraped  so  as  to  make  it  solid,  and 
the  well-beaten  white  of  an  egg,  or  albu- 
men, put  on  thinly;  the  gold  leaf  is  then 
put  on  before   the  albumen  is  dry;  it  is 


fAPKK    AND    PRINTING    RECIPE8.        47 

pressed  down  ^vith  cotton,  and  when  dry 
polished  with  an  agate  polisher.  To  put 
on  the  lettering,  the  place  where  the  letters 
are  to  apiDeav  is  coated  with  albumen,  and 
after  it  is  dry,  the  type  to  be  used  is  heated 
to  about  the  boiling  point  of  water,  the 
gold  leaf  is  put  on,  either  on  the  book  or 
on  the  type,  and  then  placed  on  the  spot 
Avhere  the  lettering  is  desired,  when  the 
gold  leaf  will  adhere  by  the  heat  of  the 
ty2)e,  while  the  excess  of  gold  leaf  loosely 
around  is  rubbed  off  with  a  tuft  of  cotton. 

Gilding  on  Wood. 

To  gild  in  oil,  the  wood,  after  being 
properly  smoothed,  is  covered  with  a  coat 
of  gold  size,  made  of  drying  linseed  oil 
mixed  with  yellow  ochre.  When  this  has 
become  so  dry  as  to  adhere  to  the  fingers 
without  soiling  them,  the  gold  leaf  is  laid 
on  with  gi-eat  care  and  dexterity,  and 
pressed  down  with  cotton  wool.  Places 
that  have  been  missed  are  covered  with 
small  jiieces  of  gold  leaf,  and  when  the 
whole  is  dry  the  ragged  bits  are  rubbed 
off  Avith  cotton.  This  is  by  far  the  easiest 
miifle  of  gilding.  Any  other  metallic 
leaves  may  be  applied  in  a  similar  manner. 
Pale  leaf  gold  has  a  greenish-yellow  color, 
aud  is  an  alloy  of  gold  ^sith  silver.  Dutch 
gold  leaf  is  only  copper  colored  with  the 
fumes  of  zinc.     Being  much  cheaper  than 


48         PAPER   AND    PRINTING   RECIPES. 

gold  leaf,  it  is  very  useful  when  large  (luaii- 
tities  of  gilding  are  required  in  places 
where  it  can  be  defended  from  the  weather, 
as  it  changes  color  if  exposed  to  moisture ; 
and  it  should  be  covered  with  varnish. 
Silver  leaf  is  prepared  like  gold  leaf,  but 
when  applied  should  be  kept  well  covered 
with  varnish,  as  otherwise  it  will  tarnish.  A 
transparent  yellow  varnish  -will  give  it  the 
appearance  of  gold. 

Gilding  in  Oil. 

In  order  to  make  good  work  in  oil  gild- 
ing there  are  several  indispensable  condi- 
itons  which  must  be  observed.  First,  a 
smooth  ground.  Second,  gold  size  free 
from  grit  or  skins.  Third,  in  putting  oil  gold 
size  on  the  work  it  must  be  dross  black, 
ground  in  turpentine,  and  mixed  with 
boiled  linseed  oil  and  a  small  piece  of  dry- 
ers; well  sand-paper  again,  when  this  coat 
is  dry.  And  now  for  the  finishing  coat  of 
color,  which  should  be  flat,  /.  e.,  mixed  with 
turpentine  and  a  few  drops  of  japanuer's 
gold-size,  but  no  oil.  The  dross  Idack 
should  be  first  ground  in  turpentine  and 
the  gold-size  added  after.  When  this  has 
dried,  varnish  with  hard  drying  oak  var- 
nish, leave  for  a  day  or  two,  and  then  rub 
down  Avith  pumice-stone  powder,  sifted 
through  muslin;  use  a  piece  of  cloth  or 
felt  wrapped  on  a  small  block  of  wood,  and 
first  wet  the  surface  to  be  rubbed  with  wa- 


PAPER   AND    PRINTING    KKCIl'ES.        -i9 


ter ;  dry  -with  a  wash-leather,  aud  re-var- 
nish. The  ornaments  are  usually  done 
with  stencil  patterns,  and  the  lines  are 
done  witli  straight  edges  and  lining  fitches. 
Stencil  i:)atterus  can  be  cut  out  of  card  jia- 
per.  Before  using,  give  a  coat  or  two  of 
patent  knotting.  For  gilding  panels,  give 
a  coat  of  buflf  first,  then  a  coat  of  gold -size, 
in  oil.  When  this  has  dried  just  sticky, 
press  the  gold  leaf  upon  it  ^^ith  a  ball  of 
wadding,  aud  leave  for  five  or  six  hours, 
then  rub  over  with  a  piece  of  soft  wadding, 
and  wash  well  with  a  sponge  aud  cold  water. 
The  gold  will  not  need  any  preparation  be- 
fore jiaiutiug  on,  but  if  varnished  afterward 
use  pale  viu-nish.  Screens  should  bejiaiut- 
ed  in  colors  to  match  the  rooms  they  are 
intended  to  be  used  in.  Birds,  flowers  and 
animals  are  the  subjects  generally  intro- 
duced for  this  purpose.  Birds  should  l)e 
painted  toward  the  top  of  the  screen,  ani- 
mals, flowers,  etc.,  iu  tbe  centre  or  at  tlie 
bottom. 

Gloss  Printing. 

Gloss  printing  is  douo  iu  two  ways;  one 
by  using  the  gloss  inks  specially  prepared 
for  the  purpose,  the  other  by  printing  the 
gloss  preparation  on  over  the  finished  job, 
or  over  that  portion  of  it  required  to  be 
glossed.  To  the  inexperienced  this  is  a 
diflicult  operation,  attended  by  many  fail- 
ui'es.     It  is  accomplislied  as  follows : — Pre- 


50         PAPER    AND    PRINTING    RECIPES. 


pare  a  tint  block  the  exact  size  and  shape 
to  cover  the  i^rintiug  to  be  glossed.  Tiie 
block  should  be  of  boxwood  or  hard  metal 
— soft  metal  will  not  do.  Fix  it  on  the  press 
and  make  it  ready  as  for  ordinary  work, 
with  a  good,  even  impression.  Wash  up 
the  ink  table,  the  rollers  and  the  block 
itself  thoroughly,  removing  the  least  trace 
of  ink.  Replace  the  rollers  and  distribut- 
ors. Now,  with  a  clean  jjalette  knife  put  a 
a  little  of  the  gloss  preparation  on  the  ink 
cylinder  or  table,  let  it  distribute  for  about 
a  minute,  and  then  i^uil  an  impression ;  if  it 
comes  np  perfectly  clean,  the  work  may  pro- 
ceed, but  if  there  are  any  signs  of  dirt,  it  is 
best  to  wash  up  again  at  once.  While  work- 
ing the  glo.ss,  keep  the  machine  in  motion, 
and  should  the  gloss  become  too  sticky 
(which  it  is  apt  to  do)  sprinkle  a  very  little 
turpentine  on  the  rollers.  It  is  best  to 
have  a  separate  hand  to  imt  on  the  gloss, 
so  as  not  to  delay  the  feeder,  and  the  sheets 
should  be  taken  away  at  once  and  laid  out 
singly  to  dry.  The  two  most  impoi-tant 
points  are  to  have  the  machine  clean  and 
keep  it  in  motion.  After  printing,  wash  up 
the  gloss  quickly  with  benzine. 

To  Bleach  Sheepskin  Parchment  White, 

To  bleach  sheepskin  parchment  white, 
expose  the  pieces  to  strong  sunlight  under 
glass,  in  a  moist  atmosphere. 


}'.\I'I;R    AXO    l'HINTl.\(i    KKCH'KS.        f)! 


OoLORS  FOR  Printing. 

For  ji  black  color  for  printing,  25  parts 
paraffino  oil  and  45  parts  resin  are  mixed, 
either  l\v  melting  at  80=  C,  or  by  mecliani- 
cal  means  at  the  ordinary  temperature.  To 
this  mass  15  parts  of  ])laok  are  added.  For 
]3rinting  machines,  the  mixture  is  com- 
posed of  4:0  jiarts  of  resin  only,  instead  of 
45.  Resin  can,  in  some  cases,  be  replaced 
by  dammar.  Other  colors  are  mixed  by 
snl)stitntiug  the  equivalent  of  the  color 
to  the  l)]ack.  When  cheapness  has  to  be 
considered,  parafRne  oil  can  be  sul)stituted 
by  resinous  oil.and  resin  by  Burgundy  resin, 
etr 

How  TO  Dye  Parchment  Blue  or  Red 

Parchment  can  be  dyed  green,  blue  or 
red.  To  dye  it  blue,  use  the  following 
])rocess: — Dissolve  verdigris  in  vinegar; 
heat  the  solution,  and  apply  it  by  means  of 
a  brush  on  the  parchment,  till  it  takes  a 
nice  green  color.  The  blue  color  is  then 
obtained  by  applying  on  the  parchment 
thus  ijrepared  a  solution  of  carbonate  of 
potasli.  Use  two  ounces  for  one  gallon  of 
water.  Another  method  is  to  cover  it  by 
means  of  a-brush  with  aquafortis,  in  which 
copper  dust  has  been  dissolved.  The  pot- 
ash solution  is  then  applied  as  before,  till 
tlie  required  shade  is  obtained.  Another 
iiiethiid  is  by  using  tlie  following  solution  : 


52        PAPER    AND    PRINTING    RECIPES. 

— Indigo,  5  ozs. ;  white  wood,  10  ozs. ;  alum, 
1  oz. ;  water,  50  ozs.  Red : —  The  pai'ch- 
meut  is  dyed  red  by  applying  with  a  brush 
a  cold  logT\'ood  solution,  and  then  using  a 
8  per  cent  potash  solution. 

To  Make  Paper  Tire  and  Water-proof. 

To  make  paper  fire  and  water-jjroof,  mix 
two-thirds  ordinary  paper-jjulp  with  one- 
third  asbestos.  Steep  in  a  solution  of  com- 
mon salt  and  alum,  and  after  being  made 
into  paper  coat  with  an  alcoholic  solution 
of  shellac.  By  plunging  a  sheet  of  paper 
into  an  ammoniacal  solution  of  copper  for 
an  instant,  then  passing  it  between  the 
cylinders  and  drying  it,  it  is  rendered  en- 
tirely impermeable  to  water,  and  may  even 
be  boiled  without  disintegrating.  Two, 
three,  or  any  number  of  sheets  rolled 
together  become  permanently  adherent, and 
form  a  material  having  the  strength  of  wood. 
By  the  interposition  of  cloth  or  any  kind  of 
fiber  between  the  layers,  the  strength  is 
greatly  increased. 

A  New  Blotting  Paper. 

A  blotting  paper  that  will  not  only  dry 
the  blot,  but  bleach  the  remainder  of  it  can 
be  made  by  p.assing  ordinary  blotting  paper 
or  card  through  a  concentrated  solution  of 
oxalic  acid.  Care  must  be  taken  that  no 
crystals  a]>pear,  which  would  injure  the 
porosity  cf  tlie  paper. 


PAPKK   AND    I'lUNTlNG   RECIPES.        53 


Impermeable  Paper. 

To  make  impermeable  paper,  prepare  the 
two  following  baths:  (1)  alum,  25  ozs. ; 
white  soai>,  12 '^  oz-. ;  water,  100  ozs.  (2) 
gimi  ariihic,  (j  ozs. ;  Colle  dv  Flandre,  18  ozs. ; 
water,  100  ozfi.  Place  the  sheet  ot  paper 
in  the  first  bath  to  be  well  impregnated.  In 
this  bath  the  jjaper  is  left  only  for  a  short 
time.  It  is  then  dried  and  dip^jed  in  the 
second  bath,  tlie  same  precautions  being 
used  as  for  the  first  bath.  When  dry.  the 
paper  is  hot-pressed  in  order  to  render  it 
uniform. 

To  Mount  Ohromos  for  Framiwj. 

To  mount  chromos  for  framing,  first  .soak 
for  fifteen  minutes  in  a  shallow  dish,  or  lay 
between  two  newsjjapers  that  have  been 
thoroughly  saturated  with  water;  then 
paste  to  the  panel  of  the  wood  or  canvas 
Aviiich  has  been  prepared  to  leceive  them. 
Care  must  be  taken  that  there  are  no  lumps 
in  .the  paste. 

A  Varnish  for  Making  Paper  Trans- 
parent. 

A  varnish  formed  of  Canada  balsam,  dis- 
solved in  turpentine,  supplies  a  most  valu- 
able means  of  making  i^aper  transparent. 
The  mode  by  wliich  this  is  most  satisfac- 
torily accomplished  is  by  applying  a  pretty 


54        PAPER    AND    PRIXTlXCi   RECIPES. 

thin  coating  of  this  varnish  to  the  paper,  so 
as  to  permeate  it  thoroughly,  after  whiclL 
it  is  to  be  coated  on  both  sides  with  a 
much  thicker  sample.  The  'paper  is  kept 
warm  by  performing  the  operation  before 
a  hot  fire,  and  a  third,  or  even  a  fourth, 
coating  may  be  applied,  until  the  texture 
of  the  i^aper  is  seen  to  merge  into  a  homo- 
geneous translucency.  Pajjer  prepared  ac- 
cording to  this  process  is  said  to  come 
nearer  than  any  other  to  the  highest  stand- 
ard of  perfection  in  transpai'ent  paper. 
Care  must  be  used  in  making,  as  the  mate- 
rials are  highly  inflammable. 

Carbon  Paper. 

To  make  carbon  pajjer : — Take  of  clear 
lard,  five  oz.;  beeswax,  one  oz. ;  Canada 
balsam,  one-tenth  oz. ;  lampblack,  q.  s.  Melt 
by  aid  of  heat,  and  mix.  Apply  with  a 
flannel  dauber,  removing  as  much  as  possi- 
ble with  clean  woolen  rags. 

Luminous  Paper. 

To  make  paper  which  shall  be  luminous 
in  the  dark,  it  is  sufficient  to  mingle  with 
the  pulp  the  following  ingredients  in  their 
proportions : — Water,  ten  parts ;  pulp,  forty 
parts ;  phosiahorescent  powder,  ten  parts ; 
gelatine,  one  part ;  bichromate  of  potash, 
one  part.  The  paper  will  also  be  water- 
proof. 


PAPER   ANDP   RlNTINCi    IIECIPES.         55 


Sizes  and  Weights  of  Drawing  Papers. 

The  following  are  the  sizes  aud  weights 
of  drawing  papers : 

Inches.  Lbs. 

Emperor.  72     X     48     620 

Antiquarian,  53     X      31      250 

Double  Elephant,  40     X     26% 13b 

Atlas,  34     X     26     98 

Columbicr,  34 1.3  X     23^2 102 

Imperiol,  30     X     22     72 

Elephant,  28     X     23     72 

Super  Koyal,  27     X     19     54 

Eoyal,  24     X     19     44 

Medium,  22     X     17 1^ 34 

Demv,  20     X     I5I2 25 

Large  Post,  20-\  X     I634 23 

Post.  19     X     15 14 20 

Foolscap,  17     X     131^ IS 

Pott,  15     X  .  12i.i 10 

Copy,  20     X     16     20 

To  Make  Bronzed  Paper. 

Dissolve  gum  lac  in  four  parts  by  volume 
of  pure  alcohol,  and  then  add  bronze  or 
other  metal  powder  in  the  proportion  of 
one  part  to  every  three  of  the  solution.  A 
smooth  paper  must  be  chosen,  and  the  mix- 
ture applied  with  a  fine  brush.  The  coat- 
ing is  not  dull,  and  may  be  highh  V>ur- 
nished. 

Another  process  consists  in  first  apply- 
ing a  coat  of  copal  or  other  varnish,  and 
when  this  has  become  of  a  tacky  dryness, 
dusting  bronze  powder  over  it.  ^  After  re- 
maining a  few  hours,  this  bronzea  surface 


56  PAPER  AND  PRINTING  RECIPES. 

should  be  burnished  with  an  agate  or  steel 
burnisher. 

To  Make  Drawing-Paper  Transparent. 

Drawing  jjaper  of  any  thickness  may  be 
mode  perfectly  transparent  by  damping  it 
with  benzine.  India  ink  and  water  colors 
can  be  used  on  this  paper.  The  paper  re- 
STimes  its  opacity  as  the  benzine  evaxjorates, 
so  that  any  place  that  has  not  been  duly 
traced  requires  to  be  redamped  with  the 
benzine  for  that  purpose.  A  sponge 
should  be  used  for  the  apj)lication. 

To  Make  Paper  Water-Proof. 

The  following  is  a  receipe  for  making 
paper  water-proof: — Add  a  little  acetic 
acid  to  a  weak  solution  of  carjienters'  glue. 
Dissolve  also  a  small  quantity  of  bichrom- 
ate of  potash  in  distilled  water,  and  mix 
both  solutions  together.  The  sheets  of  pa- 
per are  drawn  separately  through  the  solu- 
tion, and  hung  up  to  dry. 

How  TO  Size  Poor  Drawing  Paper. 

To  size  poor  drawing  paper,  take  one 
oz  of  white  glue,  one  oz.  of  white  soap,  and 
one-half  oz.  of  alum.  Soak  the  glue  and 
soap  in  water  until  they  appear  like  jelly, 
then  simmer  in  one  quart  of  water  until 
the  whole  is  melted.  Add  the  alum,  sim- 
mer again  and  filter.     To  be  applied  hot. 


PAPER   AND    PRINTINO   RECIPES.        57 


To  Prevent  Alterations  in  Writing. 

The  following  process  of  preparing  paper 
will  prevent  alterations  in  writing: — Add 
to  the  sizing  5  per  cent  of  cyanide  of  potas- 
sium and  sulphide  of  antimony,  and  run 
the  sized  paper  through  a  tliin  solution  of 
sulphate  of  manganese  or  copper.  Any 
writing  on  this  jjaper  with  ink  made  from 
nutgalls  and  sulphate  of  iron,  can  neither 
be  removed  with  acids  nor  erased  mechan- 
ically. Any  acid  will  change  immediately 
the  writing  from  black  to  blue  or  red.  Any 
alkali  will  change  the  paper  to  brown. 
Any  erasure  will  remove  the  layer  of  color, 
and  the  white  ground  of  the  paper  will  be 
exposed,  since  the  color  of  the  i^aper  is  on- 
ly fixed  to  the  outside  of  the  paper  without 
penetrating  it. 

To    Prevent    Gummed  Paper  From 
Cockling. 

It  is  well  known  that  paper,  when 
gummed,  often  cockles.  To  remedy  this  a 
little  glycer'"e  or  sugar  should  be  added  to 
the  gum. 

Copying  Drawing  in  Color. 

The  paper  on  which  the  copy  is  to  ap- 
pear is  first  dipped  in  a  bath  consisting  of 
thirty  parts  of  white  soap,  thirty  parts  of 
alum,  forty  parts  of  English  glue,  ten  parts 
of  albumen,  two  parts  of  glacial  acetic 
acid,     ten     parts    of     alcohol      of       60,- 


58  PAPER  AND  PRINTING  RECIPES. 

and  500  parts  of  w;iU  r.  It  is  afterwards 
put  into  a  st^cond  bath,  which  coutaius  fifty 
parts  of  burnt  umber  ground  in  alcohol, 
twenty  parts  of  lampblack,  ten  jjarts  of 
English  glue,  and  ten  parts  of  bichromate 
of  potash  in  500  j)arts  of  water.  They  are 
now  sensitive  to  light,  and  must,  therefore, 
be  preserved  in  the  dark.  In  preparing 
paper  to  make  the  positive  print,  another 
bath  is  made  just  like  the  first  one,  except 
that  lampblack  is  substituted  for  the  burnt 
umber.  To  obtain  colored  positives  the 
black  is  replaced  by  some  red,  blue,  or 
other  pigment. 

In  making  the  copy,  the  drawing  to  be 
copied  is  put  in  a  photographic  printing 
frame,  and  the  negative  paper  laid  on  it. 
and  then  exposed  in  the  usual  manner.  In 
clear  weather  an  illumination  of  two  min- 
utes will  sufiice.  After  the  exiDOSure  the 
negative  is  put  in  water  to  develop  it,  and 
the  drawing  will  appear  in  white  on  a  dark 
ground ;  in  other  words,  it  is  a  negative  or 
reversed  picture.  The  paper  is  then  dried 
and  a  positive  made  from  it  by  placing  it 
on  the  glass  of  a  i)rinting  frame,  and  laying 
the  positive  paper  upon  it,  and  exposing  as. 
before.  After  placing  the  frame  in  the  sun 
for  two  minutes,  the  positive  is  taken  out 
and  put  in  water.  The  black  dissolves  off 
without  the  necessity  of  moving  back  and 
forth. 


PAPER    AND    I'KINTTXf;    JiK(Il'j;s  59 


Washing  Porms. 

Forms  seut  down  to  mucliine  onglit  uot 
to  be  wet  too  much  with  lye  or  with  water, 
otherwise  it  becomes  necessary  to  dry  them 
before  working,  which  takes  time  and  often 
much  trouble.  The  wet  works  up  little  by 
little  to  the  face  of  the  letter,  and  then  the 
form  becomes  unworkable.  It  Ijus  often  to 
be  taken  oflf  the  coffin,  the  feet  of  the  types 
have  to  be  thoroughly  dried,  then  some 
sheets  of  unsized  paper  have  to  be  placed 
under  the  form ;  it  has  also  to  be  unlocked, 
shaken,  locked  up  again,  the  sheets  re- 
moved with  the  moisture  they  haveimbibed, 
and  then  it  is  to  be  hoped  the  form  will  be 
workable.  If  not  there  is  nothing  to  be 
done  but  to  lift  it  and  dry  it  by  heat. 

Lye  is  generally  used  for  wasliing  forms 
which  do  not  contain  Avood  blocks;  turpen- 
tine where  wood-cuts  or  wood-letters  are  to 
be  found  in  them.  The  bristles  of  the  lye- 
brush  should  be  longer  than  those  of  the 
turpentine-brush,  and.  in  order  to  preserve 
it,  each  brush  should  be  properly  washed 
with  water  after  using,  and  shaken  and 
stood  up  to  dry.  If  this  is  not  done  the 
brush  will  last  but  a  short  time. 

There  is  no  good  in  taking  up  with  the 
brush  a  large  quantity  of  lye  or  turps,  and 
to  shed  it  at  once.  Yet  this  is  too  common- 
ly done,  regardless  of  waste.  In  order  to 
wash   a   form    well   the    brush    should   l)e 


bO        PAPER    AND    PlUNTrNG   EKCTPES. 

passed  lightly  over  all  the  pages,  in  order 
to  wet  them  uniformly.  Then  they  should 
be  rubbed  round  and  round,  and  finally 
lengthwise  and  crosswise.  Leaning  on  tlie 
l)rush  not  only  wears  away  the  bristles,  but 
sometimes  injures  the  face  of  the  type,  too 
It  is  a  bad  practice. 

After  washing,  before  printing,  a  sponge 
with  pure  water  should  be  passed  lightly 
over  the  form,  and  then  the  form  should  be 
dried  with  a  cloth.  Care  should  be  taken 
not  to  use,  a  woolen  cloth,  which  is  liable  to 
leave  little  pieces  on  the  face  of  the  types, 
and  to  see  that  there  are  no  hard  substances 
in  it.  After  printing  it  is  always  best  to 
wash  with  turpentine.  Lye  induces  oxida- 
tion of  tlie  types,  while  turps  leave  an  oily 
film  on  thoin,  which  preserves  them  from 
the  action  of  the  atmosphere. 

How  TO  Prevent  Off-setting. 

A  practical  pressman  says  that  a  sheet  of 
paper  wet  with  glycerine  and  used  as  a 
t\  rapan-sheet  will  prevent  off-setting.  This 
will  be  found  better  than  using  oiled  sheets. 

Printing  Envelopes. 

To  prevent  the  lumpy  particles  of  miici- 
lago  on  gummed  envelopes  from  "battering" 
the  type,  use  a  heavy  piece  of  blotting 
paper  as  a  tympan,  and  when  beaten  down, 
touch  the  injured  part  with  a  drop  of  water, 
which  will  bring  up  the  impression  again. 


PAPEU    AND    PKINTINtr   RECIPES.         61 


To  Prevent  Set-off  on  Writing  Papers 
Printed  on  One  Side. 

To  prevent  set-ofi'  on  writing  papers 
printed  on  one  side,  do  not  lay  the  sheets 
straight  as  they  leave  the  press  or  machine ; 
tliis  will  enable  the  air  to  get  between  them, 
and  wonderfully  expedite  the  drj-ing  of  the 
ink.  Do  not  allow  the  heap  to  become  too 
heavy. 

A  Quick  Dryer. 

A  quick  dryer :— Japanese  gold  size,  2 
parts;  copal  varnish,  1  part;  elber  powder 
(radix  carlinse,  carline  thistle),  2  parts.  In- 
corporate well  together  with  a  small  spatula, 
and  use  in  quantities  to  suit  the  consist- 
ency of  the  ink  employed  and  the  rapidity 
with  which  it  is  desired  to  dry.  The  usual 
proportion  is  a  small  teaspoonful  of  the 
dryer  to  about  one  ounce  of  average  good 
kik. 

To  Prevent  Warping  in  Blocks  and 
Wood. 
To  prevent  warping  in  blocks  and  wood- 
letter  used  in  lai-ge  bills,  a  French  printer 
advises  that  tLey  should  be  placed  in  a  zinc 
basin,  provided  with  an  air-tight  lid ;  they 
should  then  be  thoroughly  saturated  with 
paraffine  oil,  and  left  thus  for  about  four 
days,  when  they  should  be  wiped  with  a 
clean  dry  rag.    Prepared  in  this  way  when 


62        PAPER   AND    PlUNTIXCi   RECIPES. 


new,  wood-letter  resists  the  effects  of  lye. 
petroleum,  turpentine,  and  atmospheric 
changes. 

How  TO  Keep  Rollers  When  Out  of  Use. 

It  is  a  good  plan,  when  rollers  are  to  be 
kept  'out  of  use  for  any  particular  time,  to 
put  them  away  with  the  ink  on  them.  It 
protects  their  surface  from  the  hardening 
effects  of  the  atmosphere,  and  causes  them 
to  retain  those  properties  which  give  them 
the  much  desired  "tackiness."  But  about 
half  an  hour  before  using  them,  remove  the 
ink  and  see  that  they  are  really  in  condi- 
tion again. 

Preservative  of  Rollers  When  not  in 
Use. 

The  following  preservative  of  rollers 
when  not  in  use  is  often  applied : — Corros- 
ive sublimate,  1  drachm ;  fine  table  salt,  2 
ozs. ;  put  together  in  ^2  gallon  of  soft  water. 
It  is  allowed  to  stand  24  hours,  and  is  to  be 
well  shaken  before  using.  Sponge  the  rol- 
lers with  the  mixture  after  washing. 

Oils  for  Lubricating  Roller  Molds. 

Sperm  and  lard  oils  are  the  best  for  lubri- 
cating roller  molds.  If  they  are  properly 
used,  no  trouble  will  be  experienced  in 
drawing  the  rollers. 


PAPKH    AND    PKINTING    RECIPES.        6'6 


Care  of  Rollers  in  the  Summer  Time. 

in  hot,  sultry  weutlifi-  rollers  will  uot 
ueed  spouging,  us  some  of  the  materiala 
used  in  their  mauufacture,  having  au  afliu- 
ity  for  moisture,  will  absorb  enough  humid- 
ity from  the  atmosphere  to  k(H^p  the  surface 
soft.  Indeed,  too  much  moisture  is  ab- 
sorbed in  close  iind  sultry  weatlier.  Cover 
the  rollers  while  not  iu  use  with  tallow  (in 
damp  weather) ;  this  will  jji-event  tlie  ab- 
sorbtion  of  moisture  and  keep  the  roller 
dry.  When  starting  up  jjut  a  little  tallow 
on  the  distriliutor.  This  will  jneveut  the 
rollers  from  sticking,  and   keep  them  cool. 

The  safest  thing  for  the  pressman  is  to 
have  on  hand,  as  a  reserve,  a  set  of  old,  hard 
rollers. 

Remember,..-  is  not  dry,  hot  weather  that 
causes  trouble  so  much  as  it  is  hot  moist 
weath<'r.  When  the  weather  is  dry,  soft 
rollers  ean  be  used,  but  when  dampness 
comes  on,  take  out  the  soft  and  put  in  the 
old  hard  rollers  that  have  become  rejuve- 
nated by  the  absorption  of  moisture. 

To  Keep  Green  Mould  from  Rollers. 

Nothing  destroys  the  surface  of  a  roller 
so  much  as  green  mould.  It  takes  all  the 
life  out  of  them.  Green  mould  results  from 
a  damp  place  and  a  careless  pressman,  and 
is  always  a  disgrace  to  all  concerned. 


64        PAPER   AND    PKINTINCJ    KECIPES. 

Treatment  of  Old  Rollers. 

When  rollers  have  been  lying  for  weeks 
with  a  coating  of  ink  dried  on  to  the  sur- 
face— a  circumstance  that  often  occurs, 
more  especially  when  colored  inks  have 
been  used— get  an  ordinary  red  paving" 
brick  (an  old  one  with  the  edges  worn  away 
will  be  the  best),  place  the  roller  on  a  board, 
then  dip  the  brick  in  a  trough  of  cold  wa- 
ter, and  work  it  gently  to  and  fro  on  the 
surface  from  end  ti)  end,  taking  care  to  ap- 
ply plenty  of  water,  dipping  the  brick  in 
rejjeatedly;  and  in  a  short  time  the  ink 
will  disappear.  Nor  is  this  all ;  for  if  a 
little  care  and  patience  is  exercised,  it  will 
put  a  new  face  to  the  roller,  making  it  al- 
most equal  to  new ;  the  coating  of  ink  hav- 
ing, by  keeping  the  air  from  the  surface, 
tended  to  preserve  the  roller  from  perish- 
ing.    Sponge  ofl"  clean. 

A  Eeoipe  for  Printers'  Rollers. 

Best  white  glue,  one  pound ;  concentrat- 
ed glycerine,  one  pound.  Soak  the  glue  over 
night  in  just  enough  cold  soft  water  to  cover 
it.  Put  the  softened  glue  in  a  fine  cloth 
bag,  gently  i)ress  out  excess  of  water,  and 
melt  the  glue  by  heating  it  over  a  salt  wa- 
ter bath.  Then  gradually  stir  in  the  glycer- 
ine and  continue  the  heating,  with  occasion- 
al stirring,  for  several  hours,  or  until  as 
much  <  )f  the  water  is  expelled  as  possible. 


lAl'KK    AND    l'iaNTIN(i    HKCIPKS.  »>;> 

Cast  in  oiled  brass  molds,  and  give  the 
composition  plenty  of  time  to  cool  and 
harden  properly  before  removing  from  the 
mold  and  inking.  See  that  the  ink  is  well 
spread  before  bringing  the  roller  in  rou- 
taet  with  type. 

Temperature  of  the  Press  Room. 

The  temperature  of  thcijvess  or  machine 
room  ought  to  be  as  near  as  possible  the 
same  as  that  at  which  the  ink  is  manufac- 
tured—yi^.,  16^  of  Reamur  (0S°  Fahrei;- 
heit).  If  the  temperature  of  the  room,  and 
consequently,  of  the  iron  i-eceptacles  the 
ink  is  kept  in,  be  considerably  less,  the 
varnish  of  the  ink  will  stiflftni,  the  paper 
will  adhere  to  the  type  and  i)eel  off,  or,  if 
this  does  not  occur,  then^  will  at  least  be 
too  little  varnish  in  the  ink  remaining  on 
the  tyjje,  and  too  much  carbon,  which,  of 
course,  will  not  sufficiently  adhere  to  the 
pajier,  and  may  be  wiped  off  even  when 
the  paint  is  perfectly  dry.  But  if  the  tern 
perature  of  the  work-room  be  too  high,  the 
varnish  becomes  too  thin,  the  ink  loses  its- 
pt)wer  of  covering  well  all  parts  of  the 
types,  wliich  then  look  as  if  they  had  been 
printed  with  lamp-oil.  Colors  of  different 
hues  require  generally  a  somewhat  higher 
temperature  than  black,  say  70'  to  75° 
Fahrenheit,  but  any  printer  who  wants  to 
see  a  clear  and  sharp  impression  of  his  types 


06        r.VPEK   AMu)    I'lilNTING    RECIPES. 

on  the  paper  should  not  neglect  to  look 
sometimes  to  the  thermometer,  too  low  or 
too  high  a  temperature  being  much  oftener 
the  cause  of  unsatisfactory  printing  than 
the  ink  we  use. 

When  to  Wash  Kollers. 

The  press  or  machine  man  must  be 
guided  by  the  condition  of  the  face  of  the 
roller,  and  the  eyes  and  fingers  will  be  the 
best  guides.  Where  machine  rollers  are 
required  for  a  weekly  newspaper,  they 
should  be  washed  ready  for  the  first  set  of 
forms,  and  when  the  number  is  long,  a  sec- 
ond set  should  be  got  ready  and  inked  to 
work  the  second  side,  as  the  pai^er  throws 
ofi"  a  quantity  of  cotton  waste,  and  powder, 
and  neutralizes  the  tack  so  necessary  to 
the  face  of  a  good  roller  and  a  clear  im- 
pi'ession.  Should  a  roller  require  cleaning 
for  a  hurried  work,  the  old  ink  may  be  re- 
moved with  turpentine,  but  must  be  done 
quickly,  and  immediately  distributed  on 
the  ink  table,  or  the  face  will  harden. 

Improved  Dryer  for  Printing  Ink. 

A  small  quantity  of  perfectly  dry  acetate 
of  lead  or  borate  of  manganese  in  impalim- 
ble  powder  will  hasten  the  drying  of  the 
ink.  It  is  essential  that  it  be  thoroughly 
incorporated  with  the  ink  by  trituration  in 
H  mortar. 


lAPKlt    AXD    I'UINTINtt   ItECIl'KS.        (57 


How  TO  Bend  a  Kule. 

To  bend  rule,  get  it  thoroughly  hot  and 
let  it  cool  slowly;  this  will  take  the  spring 
out,  and  it  will  stay  in  the  shape  it  is  bent 
to. 

To  Oleaw  Gilt  Frames. 

Use  a  soft  sponge  moderately  moistened 
■with  spirits  of  wine ;  allow  to  dry  by  evap- 
oration. Do  not  use  a  cloth,  and  avoid 
friction.  Another  way  is  to  use  a  very  soft 
.shaving  brush,  and  to  gently  rub  backward 
and  forward  a  lather  of  curd  soap.  Rinse 
with  water  at  about  blood  heat.  This  ap- 
]jlied  morning  after  morning  to  old  and 
dirt-covei-ed  oil  paintings  will  greatly  re- 
store them.  In  adopting  this  plan  with  re- 
gard to  gilt  frames  around  water  colors  or 
prints,  be  sure  that  not  enough  moistixre  is 
used  U)  run  o&  the  frame,  or  the  paper  will 
be  stained.  The  cleaning  applies  to  gold 
frames  only.  Dutch  metal  will  bear  no 
cleaning,  but  a  new  material,  not  absolute- 
ly gold,  Imt  very  like  it,  will  .stand  any 
amount  of  soap  and  water. 

Cleaning  New  Machinery. 

As  presses  and  machinery  have  their 
bright  work  covered  with  a  compound  to 
keep  it  from  rusting  while  shipping,  parties 
who  receive  the  machinery  will  find  benzine 
or  kerosene  oil  the  be.st  articles  to  clean 
oflf  the  compound  with. 


68        PAPER   AND    PRINTING    RECIPES. 


To  Make  Invisible  Writing- 

To  make  secret  or  invisible  writing,  pro- 
cure some  very  thin  starch,  with  which 
write  with  a  qiiill  pen  (which  should  be  a 
soft  one)  anything  that  fancy  may  dictate. 
Suffer  it  to  dry  perfectly  ;  examine  the  pa- 
per U130U  which  you  have  written,  and  not 
one  letter  can  be  distinguished  by  the 
naked  eye.  Procure  a  little  iodine,  which 
is  an  elementary  body,  dissolve  it  in  water, 
and  with  a  camel's  hair  pencil,  a  quill,  or 
any  other  convenient  article,  dipped  in  the 
solution,  shghtly  rub  the  paper  on  the  side 
which  has  been  written  upon  ;  the  writing 
will  instantly  appear  as  distinctly  visible  as 
if  written  \vith  the  finest  ink  ever  invented. 

Eed  Printing  Ink. 

Bed  printing  ink  may  be  made  in  this 
way : — Boil  linseed  oil  until  smoke  is  given 
off.  Set  the  oil  then  on  fire,  and  allow  it 
to  burn  until  it  can  be  drawn  out  into 
strings  half  an  inch  long.  Add  one  pound 
of  resin  for  each  quart  of  oil,  and  one-half 
pound  of  dry,  brown  soap  cut  into  slices. 
The  soap  must  be  put  in  cautiously,  as  the 
water  in  the  soap  causes  a  violent  commo- 
tion. Lastly,  the  oil  is  gi-ound  with  a  suf- 
ficient pigment  on  a  stone  by  means  of  a 
muller.  Vermilion,  red  lead,  carmine,  In- 
dian red,  Venetian  red,  and  the  lakes  are 
aU  suitable  for  printing  inks. 


PAPEB    AND    PRINTING    RKCIPES.        60 


To  Prevent  Eleotrotype  Blocks  from 
Warping. 

To  jjrevent  electrotyijc  blocks  from  warp- 
iug,  shrinking  or  swelling,  j^lace  them  in  a 
shallow  pan  or  disli,  cover  with  kerosene  oil 
and  let  them  soak  as  long  as  possible,  say 
three  or  four  days.  Then  wipe  dry  and 
place  in  the  form.  After  the  first  two  oi- 
three  washings  they  may  swell  a  little;  if 
8o,  have  them  ca^refully  dressed  down,  and 
after  that  you  will  have  little  or  no  trouble 
with  them,  and  can  leave  them  in  the  form 
just  as  yon  would  wnm  they  solid. 

Black  Printing  Ink. 

To  make  a  good,  permanent  black  print- 
ing ink, take 

Balsam  copaiva 9  oz. 

Best  lampblack 3  oz. 

Prussian   blue    li^  oz. 

Indian  red 684  oz. 

Turpentine  soap,  dried 3  oz. 

Grind  on  a  stone  until  extreme  fineness 
has  been  obtained.  This  ink  will  work 
clear  and  sharp,  and  can  easily  be  removed 
from  the  type. 

Sealing  Wax- 

Following  are  formulas  for  making  seal  - 
ing  wax : — Fine  red  sealing  wax — Pale  shel- 
lac, 4  oz. ;  Venice  turpentine,  10  drachms; 
English    vermilion,    2    oz.     Ordinary  red 


70  PAPER    AND    PUINTINCt    RECiPKS. 

sealing  wax--'-'hellac,  2  oz. ;  resin,  4  oz. ; 
Venice  turpentine,  12  drachms;  chrome 
red,  12  drachms.  Cheajj  red  bottle  wax — 
Resin,  10  oz. ;  turpentine,  1  oz. ;  beeswax, 
1^2  OZ-;  tallow,  1  oz. ;  red  lead  or  red 
ochre,  3  oz.  The  manipulation  is  about 
the  same  for  the  three  kinds.  First,  the 
resins  are  melted  with  as  low  a  heat  as  will 
suffice,  then  the  turpentine,  iireviously 
warmed,  is  to  be  added,  and  lastly  the  col- 
oring material.  The  first  (quality  is  only 
used  iu  sticks,  and  the  third,  when  melted, 
for  dipping  bottles  in.  The  second  can  be 
employed  for  either  purpose.  When  the 
wax  is  used  for  dipping  it  should  be  kept 
at  a  temperature  just  sufficient  to  render  it 
liquid,  as  too  much  heat  causes  it  to  foam 
and  to  rapidly  l)ecome  brittle.  Even  with 
this  precaution,  it  is  necessary  to  add  a  lit- 
tle turpentine,  from  time  to  time,  to  re- 
place the  essential  oil  lost  by  evaporation. 

For  Making  Dextrine- 

Five  hundred  parts  of  potato  starch  are 
mixed  with  1,500  parts  of  cold  distilled 
water  and  eight  parts  of  pure  oxalic  acid. 
This  mixture  is  placed  in  a  suitable  vessel  on 
u  water-bath,  and  heated  until  a  small  sam- 
ple tested  with  iodine  solution  does  not  pro- 
duce tliC  reaction  of  starch.  Wluu  this 
is  found  to  be  the  case  the  vessel  is  imme- 


PAPER    ANU    PRINTING    RECIPES.        71 

diately  removed  from  the  wator-bath,  and 
the  liquid  neutralized  with  pure  carbonate 
of  lime.  After  having  l)een  left  standing 
for  two  days,  tlie  liquor  is  filtered,  and  the 
clear  filtrate  evaporated  iii)on  a  water- bath 
until  tlie  mas.s  has  become  quite  a  j^aste, 
which  is  removed  by  a  spatula,  and  having 
been  made  into  thin  cakes  is  placed  upon 
paper  and  further  dried  in  a  warm  situa- 
tion ;  220  parts  of  pure  dextrine  are  thus 
obtained.  When  needed  for  making  mu- 
cilage, the  solution  has  only  to  be  evapor- 
ated to  the  proi)er  thickness. 

OoLOES  roR  Printing  Inks. 

The  different  colors,  and  the  inks  which 
may  be  made  from  them,  are  as  follows : 

For  Red. — Orange  lead,  vermihon,  burnt 
sienna,  Venetian  red,  Indian  red,  lake  ver- 
milion, orange  mineral,  rose  pink  and  red 
lead. 

Yellow. — Yellow  ochre,  gamboge,  and 
chromate  of  lead. 

Blue. — Cobalt,  Prussian  blue,  indigo, 
Antwerp  blue,  Chinese  blue,  French  ultra- 
marine, and  German  ultramarine. 

Green. — Verdigris,  green  verditer,  and 
mixtures  of  blue  and  yellow. 

Purple. — A  mixture  of  those  used  for  red 
and  blue. 

Deep  Brown. — Burnt  umber,  with  a  little 
scarlet  lake. 


PAPER   AND   PRINTING  RECIPES. 


Pale  Brown. — Burnt  sienna ;  a  ricli  shade 
is  obtained  by  using  a  little  scarlet  lake. 

Lilac.— Cobalt  blue,  with  a  little  carmine 
added. 

Pale  Lilac. — Carmine,  with  a  little  cobalt 
blue. 

Amber. — Pale  chrome,  with  a  little  car- 
mine. 

Pink. — Carmine  or  crimson  lake. 

Shades  and  Tints. — A  bright  red  is  best 
got  from  pale  vermilion,  with  a  little  car- 
mine added ;  dark  vermilion,  when  mixed 
with  the  varnish,  produces  a  dull  color. 
Orange  lead  and  vermilion  ground  togeth- 
er also  produce  a  very  bright  tint,  and  one 
that  is  more  permanent  than  an  entire  ver- 
milion color.  The  pigments  are  dear; 
when  a  cheap  job  is  in  baud,  orange  miner- 
al, ro3e  pink  and  red  lead  may  be  used. 

Yellow. — Of  the  materials  named,  the 
chromate  of  lead  makes  the  brightest  color. 
If  a  dull  yellow  be  wanted,  yellow  ochre 
may  be  used ;  it  grinds  easily  and  is  very 
cheap. 

Biue. — Indigo  is  excessively  dark,  and  re- 
quires a  good  deal  of  trouble  to  lighten  it. 
It  makes  a  fine,  showy  color  where  bright- 
ness is  not  required.  Prussian  blue  is  use- 
fvd,  but  it  must  be  thoroughly  ground.  It 
dries  very  quickly,  hence  the  roller  must 
be  frequently  cleaned.  Antwerp  bhie  is 
very  light  and   easily   worked.      Chinese 


PAl'EK    AND    PRINTING    llECIl'KS.        TM 


blue  is  also  available.  As  already  said,  the 
shade  may  be  varied  ^itli  flake  white. 
There  is  this  objection  to  Prussian,  Ant- 
werp, and  Chinese  blues,  that  they  are  hard 
to  grind,  and  likely  to  turn  greenish  with 
varnish  when  used  thin.  A  ])right  blue  is 
also  to  be  got  from  cobalt,  or  French  or 
(lerman  ultramarine.  This  is  cheap,  easily 
ground,  and  works  freely.  Lime  blue  may 
also  bo  used. 

Green. — Any  of  the  yellows  and  blues 
may  be  mixed.  Gamboge,  a  transparent 
color,  is  very  useful  in  mixture  with  Prus- 
sian blue;  orchromate  of  lead  and  Prussian 
blue  may  be  used.  The  varnisJi,  having  a 
yellow  tinge,  has  an  effect  upon  the  mix- 
ture, and  should  h^  taken  into  account. 
With  a  slight  quantity  of  Antwerp  blue, 
varnish  in  itself  will  jjroduce  a  decidedly 
greenish  tint.  Verdigris  and  gxeen  venli- 
ter  also  give  greens.  If  Chinese  blue  be 
added  to  pale  chrome,  it  gives  a  good  green, 
and  any  shade  can  bo  obtained  by  increas- 
ing or  diminishing  either  color.  Emerald 
green  is  got  by  mixing  jiale  chrome  with  a 
little  Chinese  blue,  and  then  adding  the 
emerald  until  the  tint  is  satisfactory. 

Brown.— Sejiia  gives  a  nice  tint,  and 
burnt  umber  a  very  hot  tint.  Raw  umber 
gives  a  brighter  brown,bistre  a  brighter  still. 

Neutral  tints  are  obtained  by  mixing 
Prussian  blue,  lake  and  gamboge. 


74        PAPER    AND    PUINTING   RECIPES. 


In  using  painters'  colors,  it  is  advisable 
to  avoid,  as  much  as  possible,  the  heavy 
ones. 

Tints  of  iiny  desired  depth  may  be  luiule 
by  using  a  finely-ground  white  ink  as  a 
basis,  and  toning  it  with  the  color  desirtnl. 

Varnish  tints  are  made  by  adding  color 
to  full-bodied,  well-boiled  printers'  varnish, 
using  a  little  soap  and  drying  preparation 
to  make  them  work  smootlily  and  dry 
quickly. 

In  mixing  tints  to  print  with,  the  muUer 
should  be  used  to  rub  in  the  colors  thor- 
oughly, otherwise  the  work  is  liable  to  be 
streaky.  It  is  advisable  to  mix  no  more  of 
a  tint  than  is  needed  for  the  work  in  hand. 
Most  colored  inks  woi-k  best  if  applied  to 
the  rollers  a  little  at  a  time,  until  the  depth 
of  color  desired  is  reached,  as  colored  inks 
distribute  slower  than  black,  and  are  more 
liable  to  thicken  upon  and  clog  the  type 
when  too  mucli  is  taken  at  once. 

Hints  on  "Oastinq  Up." 

The  most  simple  and  ettcctive  contrivance 
for  casting-up  work  is,  for  every  printer  to 
set  up,  in  vertical  parallel  lines,  the  m's  of 
each  font  in  his  ofhcci,  with  figures  in  sue 
cession  beside  them,  and  work  them  upon 
good  hard  paper,  but  little  wet  or  pressed, 
which  ought  to  be  dried  very  gradually.  If 
he  cast-up  work  j^rinted  with  the  same  type 


PAPER   AND   PRINTING    RECIPES. 


as  these  mrasiires  very  little  variation  will 
be  found;  for  if  the  measure  and  the  meas- 
ured page  do  vary  from  the  measvu-ement, 
the  one  is  compensated  by  the  other.  But 
even  this  method  can  scarcely  be  trusted  in 
setting  the  price  \\ath  the  compositor,  since 
the  difference  between  a  thin  and  thick 
space  will  carry  an  en  quadrat,  and  thus 
may  give  the  turn  in  the  500  letters,  so  as  to 
make  1,000  difference. 

How   TO   Ascertain   the   Quantity   of 
Plain  Type  Eequired  for.  Newspaper. 

To  ascertain  the  (piantitY  of  plain  type 
required  for  a  newspaper,  magazine,  and 
other  work,  find  the  number  of  square 
inches  and  divide  the  same  by  four;  the 
quotient  will  be  the  approximate  weight  of 
the  matter.  As  it  is  impossible  to  set  the 
cases  entirely  clear,  it  is  necessary  to  add 
25  per  cent  to  large  fonts,  and  33  Y>eT  cent 
to  small,  to  allow  for  dead  letter.  This,  of 
course,  is  only  ajjproximate,  but  will  be 
found  sufficiently'  close  for  all  practical  pur. 
poses. 

Oaee  of  Wood-cuts. 

Care  should  be  taken  that  wood-cuts  are 
thoroughly  dry  before  being  sent  to  the 
foundry,  as  the  intense  heat  to  which  they 
are  subjected  frequently  causes  them  to 
warp  and  split,  especiiilly  if  pierced. 


7()        PAPKK    A.\D    PKINTINO    UECIPE8. 

llEMEDY  FOR  TYPE  THAT  STICKS  IN  DIS- 
TRIBUTING. 
Great  difficulty  ia  sometimes  experienced, 
in  distributing  type  which  has  been  allowed 
to  remain  in  form  for  any  length  of  time. 
Prevention,  of  course,  is  better  than  cure; 
but  where  the  remedy  is  required,  the  fol- 
lowing may  be  tried  with  advantage  :  — Pour 
l)oiling  water  over  the  type,  and  allow  it  to 
stand  for  about  half  an  hour.  Repeat,  if 
necessary,  until  the  desired  effect  has  been 
obtained. 

Laying  Type. 

The  page  as  received  from  the  founder, 
should  be  carefully  unwraj^ped,  and,  after 
having  been  placed  on  a  galley,  soaked 
thoroughly  with  thin  soap  water,  to  prevent 
adhesion  after  the  types  have  been  used  a 
.short  time ;  then,  with  a  firm  rule  or  reglet, 
as  many  lines  should  be  lifted  as  will  make 
about  an  inch  in  thickness,  and,  placing  the 
rule  close  upon  one  side  of  the  bottom  of 
the  proper  box,  slide  off  the  lines  gently, 
taking  care  not  to  ml)  the  face  against  the 
.side  of  the  box.  Proceed  then  with  suc- 
cessive lines  till  the  box  is  filled.  Careless 
compositors  are  prone  to  huddle  new  type 
together,  and  grasping  them  by  handfulls 
plunge  them  pell-mell  into  the  box,  rudely 
.shaking  tluMu  down  to  crowd  in  more.  This 
should  n(!ver  be  allowed,  as  shaking  does 
more  injury  to  type  thou  press  wear.     Th*^ 


PAl'KR    AND    PRINTING    RECIPES.  77 

type  left  over  should  be  kept  standing  on 
galleys  in  regular  order  till  the  cases  need 
to  be  again  filled  or  sorted. 

To  Fix  Bronze  Colors  on  Glass. 

Bronze  colors  can  be  fixed  upon  glass  or 
porcelain  by  painting  the  articles  with  a 
concentrated  solution  of  potash  water  glass 
of  30°  B.,  and  dusting  them  with  the  bronze 
powder.  The  latter  adheres  so  firmly  that 
it  will  not  be  affected  by  water,  and  may  be 
polished  with  steel  or  agate. 

To  Destroy  Book  Worms. 

For  the  destruction  of  book  worms,  put 
the  books  into  a  case  which  closes  pretty 
well,  and  keep  a  saucer  supplied  with  ben- 
zine within  it  for  some  few  weeks.  Worms, 
larvee,  egg.s — all  are  said  to  be  got  rid  of 

Tinning  Paper  and  Cloth. 

The  following  is  a  method  of  tinning 
paper  and  cloth: — Zinc  powder  is  ground 
with  an  albumen  solution,  the  boiling  mix- 
ture is  then  spread  over  the  tissue  by  means 
of  a  brush,  when  dry,  the  layer  is  fixed  by 
dry  steam,  which  coagulates  the  albumen, 
and  the  tissue  is  then  taken  through  a  solu- 
tion of  tin.  Metallic  tin  is  reduced,  and 
sets  in  a  very  thin  layer.  The  tissues  of 
paper  are  then  washed,  dried  and  hot 
pressed. 


78        PAPKR    AND    PRINTING    RECIPES. 

Oare  of  Books. 

Books  should  be  shelved  in  the  (H)olest 
part  of  the  room,  and  wlierethe  air  is  never 
likely  to  be  overheated,  which  is  near  the 
floor,  where  we  ourselves  live  and  move. 
In  the  private  libraries  of  our  lesidences  a 
mistake  is  often  made  iu  carrying  the  shelv- 
ing of  our  book-cases  so  high  that  they  en- 
ter the  ujiper  and  overheated  stratum  of 
air.  If  anyone  be  skeptical  on  this  point, 
let  him  test,  by  means  of  a  step-ladder,  the 
condition  of  the  air  near  the  ceiling  of  his 
common  sitting-room  on  a  Winter  evening, 
when  the  gas  is  burning  freely.  The  lieat 
is  simply  insufferable. 

How  TO  Prevent  Mildew  on  Books- 

To  prevent  mildew  on  books,  lightly  wash 
over  the  backs  and  covers  with  spirits  of 
wine,  using  as  a  brush  the  feather  of  a 
goose  quill. 

A  Oheap  Lye. 

Boil  six  gallons  of  water  and  add  while 
boiling  one  pound  of  unslacked  lime  and 
tour  pounds  of  common  soda.  When  cold, 
it  should  be  carefully  dipped  out,  leaving 
the  dregs  of  the  lime  at  the  bottom  of  the 
vessel,  and  it  is  tlien  fit  for  immediate  ap- 
l)lication.  Cost,  about  two  cents  per  gal- 
lon. 


I'APEH    AM>    HKINTINCi    KJX'IPKS.         79 


A  Good  Dryer. 

A  good  di'yer  tor  priiitfrs'use  is  made  by 
taking  a  small  (luantity  of  pei-fectly  dry  acv.- 
tate  of  lead  or  borate  of  manganese  in  im- 
palpable ijowder  will  hasten  the  drying  of 
the  ink.  It  is  I'ssential  that  it  should  be 
thoroughly  incorporated  with  the  ink  by 
trituration  in  a  inoi'tar. 

A  Strong  Lye. 

A  very  strong  printers"  lye  may  be  made 
a8  follows: — Take  of  table  salt,  2  oz. ;  uu- 
slacked  lime,  2  lb.,  and  bruised  Scotch 
washing  soda,  2  lb.  Mix  together  in  three 
gallons  of  water,  stirring  frequently  until 
the  ingredients  are  dissolved,  when  the  lye 
u-ill  be  ready  for  use.  This  is  a  powerful 
mixture,  and  will  wash  otf  almost  any  color. 

Effect  of  Petroleum  Oil  on  Wood 
Type. 

Although  petroleum  oil  is  a  highly  use- 
ful fluid  for  cleansing  wood  letter  or  wood- 
cuts, the  printer  should  be  cautioned  that 
it  is  highly  detrimental  to  type  and  stereo- 
plate.  While  it  has  no  effect  in  opening 
the  pores  of  the  wood,  but  on  the  contrary^ 
hardens  the  surface,  rendering  the  face  pe- 
culiarly smooth,  it  corrodes  or  rots  the  met- 
al, and  leaves  a  white  powder  on  the  face, 
which,  although  it  may  be  removed  -with  a 
brush,  shows  that  the  type  has  been  in- 


80         PAPER    AND    PRINTING    RECIPKS. 


jured.  Besides  this,  petroleum  is  highly 
dangerous  on  account  of  its  inflammability. 
It  cannot  be  extinguished  liy  water. 

A  Beonze  or  Changeable  Hue. 

A  bronze  or  changeable  hue  may  be  giv- 
en to  inks  with  the  following  mixture : — 
Gum  shellac,  1  ^  lb.,  dissolved  in  one  gal- 
lon of  95  per  cent  alcohol  or  Cologne  spir- 
its for  24  hours.  Then  add  fourteen  ounc- 
es aniline  red.  Let  it  stand  for  a  few  hours 
longer,  when  it  will  be  ready  for  use. 
when  added  to  a  good  blue,  black,  or  other 
dark  inks,  it  gives  them  a  rich  hue.  The 
quantity  used  must  be  very  carefully  ap- 
portioned. 

In  mixing  the  materials,  add  the  dark 
color  sparingly  at  first,  for  it  is  easier  to 
add  more,  if  necessary,  than  to  take  away, 
as  in  making  a  dark  color  lighter,  you  in- 
crease its  bulk  considerably. 

Gold  Leaf  Printing. 

Gold  leaf  printing  requires  much  more 
care  than  bronze  printing,  but  if  properly 
managed  will  be  found  to  be  a  great  im- 
provement. Ink  should  be  made  of  chrome 
yellow,  mixed  with  Venice  turpentine,  vir- 
gin wax  and  varnish.  Cut  the  gold  leaf  in- 
to slips  a  shade  wider  than  the  lines  it  is  to 
cover,  ink  the  form  in  the  usual  way,  and 
pull  a  sheet ;  then  lay  on  the  gold  leaf  with 


I'Al^KK    AND    I'KINTINti    ItECIPES.         81    ■ 

( 

no  great  harm.  Some  colors  will  not  keep 
at  all,  and  others  deposit  at  the  bottom  of 
the  can  almost  all  their  solid  iugrcdients. 
It  is  not  easy  to  alter  this,  but  colza  oil  will 
at  least  prevent  the  surface  skinning  over. 

To  Prevent  Colored  Inks  from  Becoming 
Hard. 

Heu  auci  some  other  ct)lored  inks  arc 
•often  found  to  become  so  hard  in  a  few 
weeks  after  the  can  has  been  opened  that  the 
knife  can  scarcely  be  got  into  them,  and  they 
cannot  be  got  to  work  at  all.  Oil,  varnish 
and  turpentine  are  of  no  use  in  such  a  case; 
the  remedy  is  parafdne  oil  mixed  well  up 
with  the  old  ink.  Many  prefer  parafiine 
oil  rather  than  boiled  oil  or  turps  for  thin- 
ning down  both  black  and  colored  inks. 

To  Keep  Colored  Inks  from  Skinning. 

Colored  inks  can  be  kept  from  "skinning" 
by  pouring  a  little  oil  or  water  on  the  top 
and  closing  the  can  tightly. 

How  TO  Remove  Colored  Inks. 

Benzine  is  a  powerful  chfuiical  jjrepara- 
tion  which  may  be  used  to  remove  colored 
inks  when  lye  and  turpentine  fail.  It 
should,  however,  not  be  used  after  dark, 
as  it  is  very  inflammable,  and  it  shoxdd  be 
kept  out  of  doors  if  possible. 


82        PAPER   AND    PRINTINU   RECIPES. 


A  Varnish  for  Color  Prints. 

To  makf  a  varnisii  for  colored  prints, 
etc.,  take  of  Ciiuada  l)alsam,  1  ounce ;  spir- 
its of  turpentine,  2  ounces,  and  mix  well 
together.  The  print  or  drawing  should 
first  be  sized  with  a  solution  of  isinglass  in 
water,  and  when  this  has  dried  the  varnish 
above  named  should  be  applied  with  a 
<'iUii('rs  hair  brash. 

Repairing  Battered  Wood  Type. 

Wood  type  when  battered  may  be  re- 
paired by  removing  the  damaged  part  with 
u  sharp  pointed  knife,  and  fill  in  with  bees- 
wax or  gutta-percha. 

Inking  Surfaces  for  Color  Work. 

The  best  inking  surfaces  or  slabs  for  col- 
or work  at  press  or  machine  are  porcelain, 
litho  stone,  marble  or  slab.  Metals  are  in- 
jurious to  colored  inks — even  polished  iron 
.lurfaees  give  a  dullness  to  bright  colors. 

How  TO  Preserve  Colored  Inks. 

If  it  is  necessary  to  keep  colored  inks, 
the  best  way  of  preserving  them  so  that 
they  shall  be  workable  after  standing  some 
time  is  to  pour  a  little  colza  oil  on  the  top, 
and  securely  close  the  vessel  containing 
them.  This  oil  will  not  generally  rob  the 
ink  of  any  of  its  color,  and  even  if  it  is  not 
:'.]]  poured  off  afterwards,  its  presence  can  do 


PAPER    AND    PRINTINO    RECIPES.        83 

a  piece  of  cotton  wool ;  when  dry,  it  may  be 
washed  in  the  same  way  as  bronze.  Roll- 
ing afterward  will  improve  it  vn-y  much. 

How   TO   Brighten    Common    Qualities 
OF  Colored  Inks. 

Common  (lualities  of  colored  inks  may 
be  brightened  by  ii.sing  the  whites  of  fresh 
eggs,  but  they  must  be  applied  a  little  at  a 
time,  as  they  dry  very  hard  and  are  apt  to 
take  away  the  suction  of  rollers  if  used  for 
any  lengtheud  period. 

Printers'  Varnish. 

For  tine  work,  a  little  Canada  balsam  of 
the  consistency  of  honev  makes  a  good  var- 
nish of  great  purity.  The  coarser  but  sim- 
ilar Venice  turpentine  may  also  be  used 
with  effect  where  time  is  precious  and  pur- 
ity of  tint  not  indispensable.  A  little  soft 
soap  may  be  added  to  the  Venice  turpen- 
tine. 

If  the  work  be  coarse  and  varnish  not  at 
hand,  aUttle  oak  varnish  and  softsoapform 
a  good  .sub.stitute. 

To  Prevent  Off-setting. 

Setting  oflfmay  be  ijrevented  by  slightly 
greasing  or  oiling  a  sheet  which  may  be 
placed  on  the  tympan  if  in  press  work,  or 
the  cylinder  if  at  a  machine.  This  will  an- 
swer for  several  thovisands  without  requii-- 
ing  to  bo  replaced. 


84         PAPEB    AKD    1'RINTINCt    RECIPE6. 


A  Hardening  Gloss  for  Inks. 

A  hardening  gloss  for  inks  may  be  made 
liy  dissolving  gum  arabic  in  alcohol  or  a 
weak  solution  of  oxalic  acid.  This  mixture 
should  be  used  in  small  quantities,  and 
mixed  with  the  ink  while  it  is  being  con- 
sumed. 

A  Modeling  Material. 

Some  pretty  effects  can  be  produced  by 
the  use  of  a  composition  made  by  thor- 
oughly mixing  rice  flour  with  cold  water, 
Kud  allowing  it  to  gently  simmer  over  the 
fire  until  a  delicate  and  durable  cement  re- 
sults. When  made  of  the  consistency  of 
plastic  clay,  models,  busts,  etc.,  may  be 
formed,  and  the  articles  when  dry  resemble 
white  marble,  and  will  take  a  high  pohsh, 
lieing  very  durable.  Any  coloring  matter 
may  be  used  at  pleasure. 

Leaf  Copying. 

Take  a  piece  of  thin  muslin  and  wrap  it 
tightly  round  a  ball  of  cotton  wool  as  big 
as  an  orange.  This  forms  a  dabber,  and 
should  have  something  to  hold  it  by.  Then 
squeeze  on  to  the  corner  of  a  half-sheet  of 
foolscap  a  little  color  from  a  tube  of  oil 
paint.  Take  up  a  very  little  color  on  the 
dabber,  and  work  it  about  on  the  center  of 
the  paper  for  some  time,  till  the  dabber  i3 
evenly  covered  witli  a  thin  coating.  A  lit- 
tle oil  can  be  used  to  dilute  or  moisten  the 


PAPER    AND    PRINTING    RECIPES.        85 

color  if  necessary.  Then  put  your  leaf 
down  on  the  paper  and  dab  some  color 
evenly  over  both  sides.  Place  it  then  be- 
tween the  pages  of  a  folded  sheet  of  paper 
(unglazed  is  bestj,  and  rub  the  paper  above 
it  well  all  over  Avith  the  finger.  Open  the 
sheet,  remove  the  leaf,  and  you  will  have 
an  impression  of  each  side  of  the  leaf. 
Any  color  may  be  used.  Burnt  or  raw 
sienna  works  the  most  .satisfactorily. 

Deyer  foe  Ruling  Inks 

Ruling  iiik.s  are  made  to  dry  quickly  by 
using  half  a  gill  of  methylated  spirits  to 
every  pint  of  ink.  The  spirit  is  partly 
soaked  into  the  paper  and  partly  evapor- 
ates; it  also  makes  the  lines  firm. 

Size  of  Newspaper  Sheets  and  Number 
OF  Columns. 

Width  of  C.'lumn  Paper.    Column  Rules. 

13  Ems  Pica. 

5  Column  Folio 20 X  26  17 84  in. 

.6        "  "     22X31  1934  " 

t;ColFo(widemargin)22x82  I934   " 

7  Column  Folio 24  X  35  21  :^4   " 

7ColFo(widemargin)24x36  21^4  " 

8  Column  Folio 26x40  23^4  " 

9  «  "     28X44  26       " 

4  "     Quarto 22x31  13^4  " 

4ColQu(widemargin)22x32  13  ^4  " 

5  "  "     26X40  1734  " 

6  "  "      30X44  19:^4  " 

7  "  "     35X48  2134  " 


86        PAPEK    AND    PUlNTlNa   BECIPEti. 

Usual    Sizes    and  Weights    of    News 
Printing  Paper, 

Size.  Weight  per  Bundle. 

22  X  30 44  lbs. 

22X32 45  and     50  " 

24X36 50,56,  60  and     70  " 

26X38 60  and     70  " 

26  X  40 65,  70.  75,  80  and     90  " 

28X40 80  " 

28X42 70,  80,  90  and  100  " 

28X44 85,  90  and  105  " 

29X48 100  " 

29X58 110  " 

30  X  44 90,  95  and  100  " 

31  X44 90,  95  and  100  " 

31X45 96  " 

22X44 90,  95, 100  and  120  " 

32X46 100  " 

34I2X47I2 i'^0  " 

35x48 120  " 

Usual   Sizes  and  Weights  of  Book  Pa- 
pers. 

Size.  Weight  per  Ream. 

22  X  32 30,  35  and  40  lbs. 

24X36 ,30,35,40  and  50  " 

25  X  38 . . .  35, 40, 45, 50, 60, 70, 80  and  100  " 
28  X  42 ... .  40,  50,  60, 70,  80, 100  and  120  " 
32X44 60,  70,  80,  100  and  120  " 

iTsuAL  Sizes  and  Weights  Colored  Print 
OR  Poster. 

Size.  Welglit  per  Ream. 

24X36 25   IbH. 

25X38 27     " 

28  X  42 85, 40, 45  and  50     " 


PXrEU    AND    PRINTING    HECIPKS.        HT 


Usual  Sizes'of  Plat  and  Ledger  Papers. 

Flat  Letter lOxK; 

Flat  Foolscap 13x16 

Packet  Post 12X19 

Cap 14X17 

Crown 15X10 

Double  Flat  Letter 16  X  20 

Demy 1GX21 

Folio  Post 17  X  22 

Check  Folio 17x24 

Medium 18x23 

Double  Flat  Foolscap 16  x  20 

Bank  Folio 19  X  24 

Royal 19X24 

Double  Cap 17  X  28 

Super  Royal 20x28 

Double   Demy 21  X  32 

Double  Demy 16  x  42 

Imperial 23  X  31 

Double  Mediiim 23  X  36 

Double  Medium   IBx 46 

Elephant 23  x  28 

Colombier 23x  34 

Atlas 26X33 

Double  Royal 24x38 

Double  Elephant 27x40 

Antiquarian 31 X  53 


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